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OVERTONES 



THE 

CURTIS INSTITUTE 

OF MUSIC 

MAY 1936 



OVERTONES 



PUBLISHED BY 



THE CURTIS INSTITUTE of MUSIC 

RITTENHOUSE SQUARE 
PHILADELPHIA • PENNSYLVANIA 



Vol. VI— No. I May 1936 

OVERTONES 

ELSIE HUTT, Editor 

Contents 

ARTICLES 

Teacher, Student, and Audience Josef Hofmann, Mus. D. 5 

Poland Honors One of her Sons 8 

Moments — more or less— Musical Mary Louise Curtis Bok 9 

Editorial 16 

One Reason Why I Go to Japan Efrem Zimbalist 17 

The Current Year of The Curtis Institute 20 and 50 

Samuel Barber, '33 21 

Mrs. Bok Honored by the Austrian Government 26 

European Audiences of Today Lea Luhoshutx. 27 

Shura Cherkassky, *35 30 

We Catch Up in our Reporting 32 and 58 

A Gift to the English Jubilee 33 

A Chamber Music Concert in Town Hall 37 

The European Tours of Some Curtis Folk 38 

The Curtis String Quartet 40 

New Faces — and Familiar Faces in New Places 43 

A Letter from Henri Temianka, '29 45 

Cadenzas 47 

Library Notes Sarah Hettinger 64 

ILLUSTRATIONS 

Josef Hofmann, Mus.D 4 

Mrs. Mary Louise Curtis Bok 11 

Efrem Zimbalist 17 

Inros 18, 19 

Samuel Barber 23 

Mme. Lea Luboshutz and Eugene Helmer 28 

Shura Cherkassky 31 

Dr. Louis Bailly and The Curtis Chamber Music Ensemble 36 

Philip Frank 38 

Elizabeth Westmoreland and Irra Petina 39 

The Curtis String Quartet 41 

Introductory Phrase, Curtis Institute "Signature music" 50 

Fritz Krueger, Charlotte Daniels, and Robert Topping 51 

PcrmissioD is granted to reproduce parts of this magazine provided due acknowledgement is made to Ovirtones. Copyright 1936 by The Curtis 
Institute of Music. Printed in The United States of America. 

{3} 




Photograph by Albirt Pttmm 



JOSEF HOFMANN. Mus.D. 
Director and Dean of The. Curtis Institute of Music 



by JOSEF HOFMANN, MUS.D. 



IT USED to be that concert artists dreaded teaching as a comparatively 
colorless occupation that clipped the wings, devitalized art, and 
stultified performance. They dreaded it in spite of the examples of Liszt 
and Rubinstein, the two great artist-teachers of the past, and later 
Busoni, all of whom, alternately concertizing and teaching, were living 
refutations of this theory. 

But teaching is a duty that the concert artist should fulfill. The 
great store of theories and principles evolved thru the ages and handed 
down from master to pupil must be preserved in each rising generation 
in order that this sacred fire may be kept burning. Tradition must not 
die! The concert artist who brings something of value to his audiences 
is himself establishing tradition, and so has a double obligation to 
teach, since otherwise that tradition would perish as soon as he stopped 
playing or singing. Thru teaching we assure a sort of eternal life for our 
art, which should mean much to any artist worthy of the name. 

Happily, the old attitude toward teaching has changed. Today 
many artists are teaching, and I am sure they can say as I do, emphati- 
cally: There is absolutely nothing to fear. 

As a matter of fact, the concert artist should welcome teaching. It 
will enrich his life, and, life and his art being to him synonymous, it 
follows that his art, far from suffering, will benefit therefrom. Teach- 
ing clarifies many things in the teacher's mind, things that have be- 
come second-nature, that he does by instinct or habit, and has long 
since stopped thinking about. In resurrecting these things from the far 
places of his mind for the benefit of his pupils, the teacher is forced to 
think anew about these matters, to analyse and to reason; he discovers 
new material therein, and opens in himself the way for new thinking, 
mw ideas, and new development. The teacher also learns and receives 

{5} 



OVERTONES 



inspiration from his pupils (providing they are good pupils!), which 
perhaps is why great artists accept only students who are gifted ; a selfish 
reason, but justified since in any event a vessel cannot be expected to 
receive more than its capacity and a great artist has much to give. 

And now, a word to students. 

Music expresses moods : dramatic, tragic, heroic, lyric, or humorous. 
These moods, that primarily are the composer's, the performer must 
find and strive to interpret. This is not merely a matter of observing 
fortes, pianissimos, crescendos .diminuendos , and so on; the trained musician 
does not need these marks — he will show them nevertheless in execu- 
tion, just as a person instinctively pauses in the right places when 
reading a telegram, emphasizing a word or a phrase according to its 
importance. One must perform music with both one's heart and one's 
mind. 

Students should strive to acquire a mental acoustic picture of the 
music they wish to play, rather than merely a memory of how their 
fingers move or how the notes look on the page. Such a mental acoustic 
picture is the most reliable form of memory and has also the further 
advantage of enabling one to "practice" anywhere and at any time. 
One can "play" whole pieces mentally while walking down the street, 
eating breakfast, or lying in bed. This power of mental practice is ex- 
ceedingly valuable to the performer. 

In preparing for public appearance, the most important thing to do 
is to play as often as possible before others, informally and privately. 
It does not matter who it is that listens, nor what the degree of the 
listener's musical knowledge happens to be. Robert Schumann once 
said that if you have no one else to perform to, you should ask your 
cook to come into the living room while you play. Another prominent 
musician of the past observed that even the presence of a dog or a cat 
in the room changed the mental process of concentration. It is neces- 
sary to accustom oneself to the feeling of having listeners. A student 
practices, and over the piano hangs, we shall say, a picture of his 
grandmother. He looks at it as he works, and soon he has a mental 
conception of the music plus his grandmother. Then someone takes the 
picture away; the student feels that something connected with his 
performance is missing and becomes disturbed. One day someone enters 



<6> 



OVE RTO N E S 



the room while the student is playing. Instantly there is a difference! 
Another time he is playing and someone in the room changes his posi- 
tion, sneezes, gets up, goes out. One must acquire indifference to what 
is, or is not, in the room, and immunity to the shiftings of one's audi- 
ence; and so, for the student, the more changes there are in both the 
better it is, the more practice he will have in maintaining his balance 
against distraction. This is why we have the Concert Course at The 
Curtis Institute — to teach students to express themselves in various 
environments and before audiences of all sorts of potentialities, as well 
as before their grandmothers' portraits. 

On the day of a concert, a splendid thing to do is to isolate oneself 
for a time just before one has to begin the performance. Music is a form 
of speech, there is a narrative to be told, and consequently one must be 
in a condition to pour it out; one must not be pumped dry before one 
begins. When a painter wishes to paint a picture, his canvas must be 
clean to receive and faithfully portray only the lines, forms, and colors 
which the painter places thereon; when a musician is to give a concert, 
his mind must be clear in order that it may hold only the music which 
he is later to perform. When I am to play a recital I want my ' 'canvas" 
first to be blank. For several hours before a concert I do not say a word; 
my family and everyone about me understand this, and I am never 
disturbed. With my canvas clean, I paint on it nothing but the mental 
acoustic pictures of my program, and go to the concert platform feeling 
the positive need of expression at the piano. 

Then I play. 



{7> 



alanJi ^:^H-o^nat^ K^^nc ar c^t'tcx c:^^^^ 



THE Director of The Curtis Institute of Music was decorated by the 
Polish Government in October 1935 with the Order of Polonia 
Restituta in the rank of Commander. The presentation took place at the 
Ministry of Education, Warsaw, before a distinguished group of people, 
Konstanty Chylinski, the Minister of Education, conferring the decora- 
tion upon Dr. Hofmann. 

This is an unusual distinction since the rank of Commander in the 
Order generally is reserved for persons in the diplomatic, military, or 
official service of the Polish Government. Dr. Hofmann is the only 
musician to have received this honor in recognition of his art. 

Dr. Hofmann was born in Poland. He became a naturalized citizen 
of the United States in 1926. 

The University of Pennsylvania conferred upon the Director of The 
Curtis Institute the honorary degree of Doctor of Music in 1933- 



{8> 



by MARY LOUISE CURTIS BOK 

SOMETIMES as I sit alonc and quietly (and now and then I really do) 
there pass before my mental eyes a veritable kaleidoscope of pictures 
— some grave, some gay, some funny, some very sweet, one or two 
momentous. Being modern in concept, they are motion pictures. 

They were all taken at or near The Curtis Institute of Music, and 
they have much to do with Youth. 

One often comes to my mind. It is the picture of one of our most 
engaging young students, particularly my first meeting with the boy. 
He came to us upon the recommendation of one of the teachers, who 
had heard him play somewhere in Europe. Coming directly from 
Hungary to the United States, N6-Bore knew very little of the English 
language. He was about sixteen years of age, blond, with an appealing, 
angelic expression upon his round, youthful face. A ripple of agita- 
tion ran thru the feminine part of the school from the day he first 
entered it. Practically every girl loved him at first sight! We all did 
— we still do, altho he is now grown up and a concertizing artist in 
Europe and we must love him at a distance. 

One day shortly after No-Bore's arrival I came face to face with 
him for the first time in the Dean's office. I advanced toward him 
with my hand outstretched to greet him, and said "Surely this must 
be No-Bore!" He bowed solemnly. Feeling I should enlighten him, 
I gave my name, whereupon a stricken look came into that youthful 
face. One could see the mental struggle for the proper words. In a 
flash he found them. Taking my hand and raising it to his lips, he 
bowed again, profoundly, and said — firmly — "Good mght!^' . . . 

Of course I often eat at the drug store on the corner. That rendez- 
vous is almost an annex of the school ! Seated one day on a stool at the 
counter, I found myself beside the policeman who so zealously guards 
our property besides attending to his onerous duties at the intersection. 

<9> 



OVE RT O N E S 



He was very polite, and we discoursed of the sin and pity of city 
government's being ruled by mere politics. Somehow our conversation 
worked around to more personal matters, and I confided to him that 
I was often too busy to eat. This seemed to startle him. Most earnestly 
he said "Oh, that ain't right! You must eat!" . . . Perhaps I should. 
Most certainly I would if I stood at that corner directing traffic eight 
hours a day! 

The next picture is one of peculiar poignancy to me. . . . We are 
in Casimir Hall. We have had a present. My father, whose name 
the Institute bears, has given us a pipe organ, and we are to dedicate 
it this evening. With much difficulty I have persuaded the dear donor 
to come out with his daughter on the stage. Clearly, I see him still 
as he was that evening — the live little figure, with its crown of white 
hair and snapping brown eyes. Restless movements. Fearful lest his 
daughter hand him a bouquet. 

We cannot be formal. My own heart is quite too full and his nature 
quite against it. So I just tell the students all about it. How, before 
my last birthday, my father had asked what present he could give me 
and when I had suggested the organ he had smiled with positive 
delight and said he would love to do just this. I then tell the students 
I want the first hands laid upon that organ to be my father's and say 
that he will play a little for them. 

Such a protesting little man! He too appeals to the students. Tells 
them that his daughter is given to exaggeration and that he is no 
musician anyway. 

And then I hurry him down to the organ seat and in his own 
inimitable way he gives us a short but thoroly musical improvisation. 
... I like to think he was as happy that evening as we all were. 

I have many pictures of our Christmas parties and wonder if others 
remember as I do one unvarying feature of them for so many years. I 
always thought it so gracious of Madame Sembrich to have sent us 
as her contribution a prodigal lot of the choicest chocolates and bon- 
bons. These were always spread out in dishes upon a side table, with 
a figure of Santa Claus, about twelve inches high, and a hand-written 
notice that these sweets were sent as her personal Christmas gift to 
the students. 



{ 10 > 




P holograph by Aibtrt Pilirim 



MRS. MARY LOUISE CURTIS BOK 
Founder and President of The Curtis Institute of Music 



OVE RTO N E S 



And will any of us who saw it ever forget Gary Bok's introducing, 
at a Christmas party, on the stage in Casimir Hall, the huge little 
girl who wore a pink ribbon in her yellow curls and clasped a doll? 
Who could the big child be? Mr. Bok announced that it was a new 
student, just arrived from darkest Poland, and that she would now 
play to us. 

Little "Ruth" sat down at the piano, and played none too well. 
She fussed about a good deal, she made little mistakes. There were 
lapses. . . . She broke down! Whereupon Mr. Bok smiled reassuringly 
and said "Now, Ruth, show us how you can play after having been 
eighteen months at The Curtis Institute." 

And then big little "Ruth" broke into the Chopin Polonaise 
Militaire, playing with the tone, big sweep, fire, and perfection that 
we know is the unique possession of — our Director! . . . Pandemonium 
in the audience! 

One picture is entitled "An Appeal to the Mayor" and is in cor- 
respondence form. You may read the three letters for yourselves. 

THE CURTIS INSTITUTE OF MUSIC 

RiTTENHOUSE SqUARE 

Philadelphia 

24 October 1933 
My dear Mr. Mayor: 

I am in a quandary and am wondering if you can advise me. 

It does sound amusing, but actually it is far from being 
amusing to students and teachers at The Curtis Institute of 
Music to be afflicted with hurdy-gurdies playing merrily in our 
neighborhood during the hours our school is in session. For us 
to pay them to move on is to invite more frequent musical street 
performance. 

May we properly request such policemen as happen to be 
about to ask the hurdy-gurdy men not to play under the 
windows of The Curtis Institute of Music at Eighteenth and 
Locust Streets? 

With cordial greeting, I am 

Sincerely yours 
Qsigned^ Mary Louise Curtis Bok 

The Honorable Mr. J. Hampton Moore 
Mayor of Philadelphia 



<12> 



OVE RTO N E S 



CITY OF PHILADELPHIA 
Office of the Mayor 

October 25, 1933 
Mrs. Mary Louise Curtis Bok 
The Curtis Institute of Music 
Rittenhouse Square 
Philadelphia 

Dear Mrs. Bok: 

I dislike very much to learn from your letter of the unseemly 
rivalry that appears to have been set up against The Curtis 
Institute of Music; and in the spirit in which you wrote agree 
that there should be no unfair blending of the melodies. 

I will call the attention of the Department of Public Safety 
to the condition you refer to and see if it can not be abated. 

Very truly yours 
(jigned)]. Hampton Moore 

THE CURTIS INSTITUTE OF MUSIC 

Rittenhouse Square 

Philadelphia 

27 October 1933 
My dear Mr. Mayor: 

It is awfully good of you to reply so promptly about the 

hurdy-gurdies and in so understanding and delightful a manner. 

If the relief can be effected, there will be a greater degree of 

harmony, at least within doors, at Eighteenth and Locust 

Streets, from now on. 

With many thanks to my father's old friend, I am 

Sincerely yours 
(jigne£) Mary Louise Curtis Bok 

The Honorable Mr. J. Hampton Moore 
Mayor of Philadelphia 

Once, as I was going up the front steps of the school, the big door 
opened and a small boy carrying a roll of music emerged. I recognized 
him as a very talented youngster, so greeted him by name, and said 
"Will you play for me some day soon?" "No," was the instant reply. 
"No? And why not?", I queried. "Because I'm not ready," he 
answered. He was polite, but so definite that I paused, interested. 



{13} 



OVE RTO N E S 



"Well," I went on, "when will you play for me?" And that child 
with the single-track mind answered "When I am ready!' ^ . . . 

Now I come to a picture for which I must give a preface — a Lead- 
ing Tone, as it were — with a satisfying Tonic resolution. 

It may be interesting to those who see The Curtis Institute as it is 
today to know what parts of its present structure are the unique con- 
tribution of Josef Hofmann, now its Director. 

When I asked him if he would assume the office it was two years 
before he consented, and during this time he put much thought and 
study on the problem of the school. He had been associated with it 
from its founding, as head of the Piano Department and a teacher 
himself in that Department. 

One of the first questions Josef Hofmann put to himself and to me 
was: What should be the purpose of this school? The answer, in his 
own words, has ever since been printed in our catalog: fo hand down 
thru contemporary masters the great traditions of the past — to teach students 
to build on this heritage for the future. This might well be called the 
Creed of The Curtis Institute. 

The purpose defined, Josef Hofmann turned his attention to methods 
whereby such a purpose could be achieved. When he assumed the 
Directorship, there was a student body numbering 229- Josef Hofmann 
has all his life believed in Quality as against Quantity, and he decided 
almost at once that if Quality was to rule at The Curtis Institute it 
was of primary importance that the number of students be — not 
increased — but reduced. He began immediately to work toward the 
goal of a smaller and better school, retaining only those students who 
seemed most promising and keeping constant watch over the latent 
artistic quality of the student body — a policy that has remained his 
ever since. 

He next pointed out to me the need for students to have the use 
oi good instruments in their homes for practice. I saw there was little 
use of school lessons if home practicing conditions were inadequate. 
Accordingly the Institute purchased Steinway pianos and other instru- 
ments to lend to students in need of them, without charge, and this 
is still the policy of the school. 



< 14 > 



OVE RT O N E S 



He instituted public appearance for students during their school 
years, believing that young artists should acquire ease and self- 
possession thru public performance and be allowed to make their mis- 
takes in order to correct them while in the more or less obscure role 
of student. 

He advocated summer study with teachers, not at the school but 
wherever the teachers might be, the summer lessons to be confined to 
a two-month period and to be available only to students of outstanding 
quality. 

Thus Josef Hofmann shaped our school, but the most far-reaching 
change was one he suggested to me during the first year he was 
Director. It is this picture I want to present to our students. 

At this time there was a charge for tuition — five hundred dollars per 
year — tho few students paid it in full. . . . We were having tea 
together, the Director and I, and there was an unwonted eagerness 
about him. He talked rapidly, a little anxiously, and as if something 
within his mind had recently clarified, crystallizing into a conviction. 

"I have a proposition to make to you," he said, "but I don't 
know how it will strike you." "Let's hear it," I said, and added 
"Is it so revolutionary?" 

"Yes, it is," he replied. He hesitated, then went on with a mount- 
ing eagerness. "Why these tuition fees? Practically no one can pay 
them in full. With conditions as they are now there is an inequality 
of circumstance amongst the students: one pays less, or more, than 
another, and word of it gets around somehow; it creates an un- 
fortunate atmosphere because something, under it all, doesn't ring 
true. Why any tuition fees? There is an endowment. What would 
you think of abolishing tuition fees altogether? Then there would be 
some pure, fresh air thru these rooms and halls. The students would 
know that only their work is of value here, and that all are on an 
equal footing." 

He was eloquent in pleading the cause of the students, and I knew 
at once that he was right. Free tuition, from then on, has been a 
prime policy of The Curtis Institute of Music. 



<15> 



i^^ditatiai 



WITH THIS ISSUE, OvERTONEs again makes its bow before the public, 
after an absence of nearly four years. 

The prime tone of the past few years is too familiar to everyone to 
bear more than passing reference. We are a bit tired of alarums, and 
more than a bit tired of talk about them. 

But of late, as we have continued to listen, it has seemed that the 
color of the note has changed. 

Whether in truth the note does possess a different quality, or 
whether the difference lies in the way in which we are listening, we 
cannot tell. Like the lady who did not know art but knew what she 
liked, we may not know whether the present economic situation is 
good or bad, we only know that the sound of things is now more to 
our liking. 

Upon such profound matters we are happy indeed not to be obliged 
to discourse. And in any event — we are concerned with overtones. 



It may not be amiss to recall the purposes of Overtones. There is 
nothing unique in an institution's preserving for its own needs and 
reasons, in some form or other, the facts relating to its progress. 
Overtones not only records all sorts of data concerning The Curtis 
Institute of Music but endeavors to give to the public a picture of the 
school, its activities, its personalities, its achievements, and its aims. 

In addition to this two-fold object. Overtones is a secondary 
medium of expression for the busy group of artists whom The Curtis 
Institute looks upon as its own — the faculty, and the rising generation 
of musicians being nurtured within its walls. Overtones is a ready 
means of giving to the public their thoughts, convictions, and theories, 
and of recording for posterity the experiences, lessons, and achieve- 
ments of their professional life. 

And if Overtones be also an occasional revelation of the lesser 
known and lighter facets of their makeup — so much the more to our credit ! 

{ 16 > 



One iZ,^ 



ea^an^ 



yui.^ J g. 



ta japan 



by EFREM ZIMBALIST 




Photograph hy Albirt Pitersen 



OF ALL the important masters and schools of the different branches 
of art the least known on the European and American con- 
tinents are those that created the inro many centuries ago in Japan. 
Certainly one finds intelligent collectors here and there but nevertheless 
the general public is quite unaware of the existence of these works 
of art and of their beauty, and of the imagination and extraordinary 
skill involved in their creation. When I first went to Japan in 1921 
I became enamoured with this little gem of art and conceived a pro- 
found admiration for the artists who created it. 

The inro is a small medicine container consisting of from one to 
seven chambers strung together on a cord. The average dimensions 
are from three to four inches in height, two to three inches in width, 
and about three-quarters of an inch in depth. There are inros of much 
larger size that may have been used by actors or by priests. 

The majority of mros were of wood decorated altogether or mainly 
with lacquer, but other materials were also used especially in later 
periods of the art, such as various metals, ivory, tortoise shell, porce- 
lain, semi-precious stones, etc., etc. 



07> 



OVE RTO N E S 



Emphasis must be laid upon the extreme accuracy with which the 
separate compartments were fitted together, making the divisions al- 
most invisible. A higher degree of workmanship is required in this 
respect than anything in the way of wood work that has ever been 



art reaches perfection, 
ing the inro is of consid- 
zawa Ariyoshi mentions 
list of objects that the 
in the year Engi Fifth 
indication of their shape. 
inro in its present form we 
(A. D. 1596), in which 
of from two to six 

ly found to bear the sig- 
first great artist in this 
initely known is Seki- 
about 1624-1643. He 
lacquer. Of the other 
great masters there are Korin, Ritsuo, Hanzan, Kenya, Yamamoto 
Shunsho, Shiomi Masanari, Kajikawa Kinjiro, Tatsuke Chohei, and 
the famous Koma family who from 1681 to 1847 held the official post of 
lacquer artist to the Shogun. 

I have some inros and seldom can resist the temptation to add to 
my collection. Inros, however, do not grow upon the cherry trees, 
nor yet are they to be found in the dealers' shops. Making the delight 
of finding one all the greater. 



done, and in the inro this 
The practice of carry- 
erable antiquity. Kuma- 
"medicine bags" in the 
Emperor Daigo ordered 
(A. D. 905) but gives no 
A definite reference to the 
find in the Keicho Period 
period the inro is made 
compartments. 

Fine inros are frequent- 
nature of the artist. The 
field whose name is def- 
no-Socho who worked 
used to sign his pieces in 




Inro — opened 



{ 18 > 



OVE RTO N E S 





Inros from the collection of Marquis Tokugawa 
now in the collection of Mr. Zimbalist 



{ 19 > 



THE Curtis Institute of Music began its twelfth season September 30, 
1935, with an enrollment of 159, which figure has remained fairly 
stable thruout the year. Italy, Canada, Cuba, and Mexico are repre- 
sented in the student body, besides twenty-six states of the United 
States, and the District of Columbia. 

The summer had passed with, for many of the students, continued 
study, rehearsals, and professional appearances. An eight-week period 
of lessons in each major subject had been scheduled. 

Early each season student concert activity gets under way, with the 
radio concerts and the Concert Course beginning in October, and each 
year special events of some kind or other taking place outside the Insti- 
tute to prepare for. 

Twenty-six radio concerts were scheduled, for Wednesday after- 
noons thru the school year. Regular concerts by the Curtis Symphony 
Orchestra and by chamber music groups have featured the broadcasts, 
with woodwind ensembles, harp ensembles, and solo performances 
rounding out the series, every department in the school being repre- 
sented. Unusual works were given by the Orchestra under Mr. Reiner's 
direction, such as the Marche from the Karelia Suite of Sibelius, the 
"Weinen, Klagen" Variations on a theme of Bach by Liszt as orches- 
trated by Leo Weiner, and Debussy's Danse in the Ravel orchestration; 
the ballet-suite from Cephale et Procris by Andre Ernest Modeste Gretry, 
the overture to Auber's Masaniello, Bernardino Molinari's orchestra- 
tion of Paganini's Moto Perpetuo, and the Semiramide overture (Rossini). 
Such works as the Johan Svendsen Qiiintet (string), the Faure piano 
Quartet, a string Quintet by Vitold Josefovitch Malichevsky, the Bach 
D minor Concerto for piano and strings, and the Beethoven E-flat Septet 
were represented in the chamber music programs given under Dr. 
Bailly. Woodwind ensembles directed by Mr. Marcel Tabuteau played 
Richard Strauss's Serenade in E-flat, the third and fourth movements 
from a Sextet by Ludwig Thuille, and other works. An interesting pro- 
gram was one in which the organ and the harp ensemble collaborated, 
giving Bach's Sixth French Suite for seven Harps, Debussy's Clair de 

Continued on page ;o 

< 20 > 



s. 



aHtu.e 




ataety 33 



WINNER of the Rome and the Pulitzer music prizes in the same 
year! And now he is in Italy, a land well known to him from 
previous visits — his most intimate friend, a former classmate at The 
Curtis Institute, is an Italian, his "maestro," Rosario Scalero, also — 
he is in Italy, at the American Academy in Rome, "writing a lot of 
new music." Our best wishes and most affectionate thoughts to Sam 
Barber ! 

Merely the situation of the Academy is a pleasure to him— "high 
on the Janiculum, with Rome at one's feet, and a beautiful walk on the 
heights across to Saint Peter's." 

After a swift job of orientation, this son of The Curtis Institute is 
thoroly at peace with himself as an integral part of the Academy 
and with his neighbors. Director Aldrich and the other Fellows, and 
the many members of his profession and others whom he is meeting. 
The names Pirandello, Casella, Moravia, Malipiero, de Luca, Serafin, 
Cecchi spring from the pages of his letters. He seems to have been 
swung into a rapid procession of amusing and thrilling experiences. 

He writes of "a day at Tivoli, where by chance a crowd of peasants 
from the Abruzzi mountains came to do the most extraordinary dances 
to the music of bag-pipes: in costumes of exquisite colors, and for no 
audience at all, merely for their own pleasure"; "lessons twice a week 
in Dante — my teacher comes to my studio and we read aloud by the 
fire ... we finished the Inferno today" (a fortnight later he is writing 
that "next week . . . Dante and I arrive in Paradise"); a "chance to 
stroll around in the lovely gardens of the Villa Aurelia, where the 
Aldriches live; my studio is a little yellow house, approached from the 
garden by a winding stair." 

By January 15th he had composed seven new songs and sung three 
of them, first at an evening devoted to new music by young composers 

{11} 



O VE R T O N E S 



when Casella made him give The Beggar s Song a second singing, again 
at luncheon at Prince Bassiano's where there was a gathering of the 
younger Roman painters and composers. 

By the end of February he had finished his first Symphony. 

But perhaps his most interesting experience, of which he writes 
glowingly, has been "going up on the temporary ^scaffolding they 
have in the Sistine Chapel and lying on my back for hours, six feet 
from Michelangelo's frescoes," in company with a few painters who 
obtained special permission for this scrutiny aloft. "To see these 
figures," he writes rapturously, "as close-ups! To live with them! The 
wonderful Sybill seen close! A new conception: I cannot tell the im- 
pression it made on me, for these sensations are like secrets to be 
guarded jealously all one's life-time, great and magnificent secrets." 



Barber's vivid appreciation of beauty, quick perception, and keen 
reactions, the depth of his feeling, and the happy spirit permeating all 
this, the very qualities that endeared him to his teachers and fellow 
students, must surely be responsible in large measure for the early suc- 
cesses he has reaped, and with the maintaining of a fine balance such as 
we dare to wager on, knowing our young man, thru the somewhat 
heady events that are crowding upon him, who can say what future 
glories will cover this disciple of The Curtis Institute? 

Presented by Dr. Carl Engel on February 4, 1935, to the radio audi- 
ence of the United States, in a program consisting entirely of his own 
music, Samuel Barber won instant recognition as a triplefold musician 
— composer, singer, and pianist. The full hour broadcast was one of the 
National Broadcasting Company's Music Guild series and was, accord- 
ing to Dr. Engel, "an event of considerable musical importance." The 
program consisted of Serenade (played by the Curtis String Quartet), 
"Dover Beach, ' ' a setting for baritone or mezzo-soprano voice and string 
quartet of Matthew Arnold's poem (performed by the composer and 
the Curtis String Quartet), and a Sonata for Violoncello and Piano. 
Later, on March 19th, Mr. Barber sang again in the Music Guild hour. 



'The cracks that have been appearing in the ceiling of the Sistine Chapel are the cause of considerable 
alarm. The scaffolding was erected for the purpose of studying the situation at dose range. Ed. 



{11} 



OVERTONES 




SAMUEL BARBER 
al the Villa Menotti. Cadigliano, Italy, in the summer of 1933 



On Sunday afternoon, March 24th, in Carnegie Hall, New York 
City, the Philharmonic-Symphony Society of New York with Werner 
Janssen performed Mr. Barber's Musk for a Scene from Shelley for the first 
time anywhere. 

Shortly after this, Mr. Barber won the Pulitzer and the Rome prizes. 
The winners of the Rome Fellowships were announced by radio on the 
evening of May 9th. Deems Taylor made the announcements, and again 
a full hour on the air was devoted to Mr. Barber's music. 

The house of Schirmer (New York) is publishing a number of the 
Barber works. Many of these have been performed repeatedly on this 
and the other side of the Atlantic. The overture to ''The School for 
Scandal,'' which won for its composer the 1933 Bearnes prize, was 
played for the first time in public by the Philadelphia Orchestra, in 
Robin Hood Dell, August 31, 1933- A recent performance was that by 
Eugene Ormandy and the Minneapolis Symphony Orchestra over the 
NBC network on February 20, 1936. The "Dover Beach" setting was 
first performed in public in New York City March 5, 1933, by Rose 
Bampton and the New York Art Quartet, in a concert given by the 



{23> 



O VE R T O N E S 



League of Composers. Among numerous subsequent performances of 
this work was the one at the London home of the Viscount and Vis- 
countess Astor on June 25, 1935, by Miss Bampton and the Curtis 
String Quartet, which was followed on June 30th by a radio perform- 
ance at the invitation of the British Broadcasting Corporation, by the 
same artists. The Serenade for string quartet also was performed at Lady 
Astor's on the same occasion. The Violoncello Sonata was given its 
first public performance at the League of Composers concert afore- 
mentioned. The Sonata for Violin and Piano won for Mr. Barber his first 
Bearnes prize, in 1929. The songs '' Bessie Bobtail,' ' '^ Daisies, '^ "Dance," 
and "With Rue 7ny Heart is Laden" were sung at the concert at Lady 
Astor's that we have mentioned, "Daisies" and "Dance" in the British 
broadcast already spoken of. 

The Shelley music was composed during a visit to Gian-Carlo 
Menotti in Cadigliano, in 1933, where a year earlier Barber had com- 
posed his 'Cello Sonata. The Shelley music was suggested by the lines 
(Act II, Scene 5) in Prometheus Unbound, which demand music — 

(Panthea to Asia): 

"... nor is it I alone, 

Thy sister, thy companion, thine own chosen one. 
But the whole world which seeks thy sympathy. 
Hearest thou not sounds i' the air which speak the love 
Of all articulate beings? Feelest thou not 

The inanimate winds enamoured of thee? 

List!" 

[Music] 

While in Vienna in 1934, Mr. Barber made a collection of seven- 
teenth- and eighteenth-century songs, many of which he copied from 
manuscripts in the Vienna libraries. 

When singing he often plays his own accompaniments, .even in 
public. As to this feat, he adores doing it, saying he sings better that 
way, and since being in Rome has memorized all the Dichterliebe of 
Schumann, both words and accompaniments, as a sort of recreation — 
Barber makes no bid for public performance. 

Mr. Barber also has composed music for Mary Kennedy's play One 
Day of Spring which was given its first performance in the Annie Russell 
Theatre at Winter Park, Florida, January 24, 1935- 



< 24 > 



O VE R T O N E S 



Mr. Barber's compositions (up to February 1936): 

Sonata for Violin and Piano (1928) 

Serenade, for String Quartet (1928) 

Concerto for Piano and Orchestra (1930) 

"Dover Beach," for Voice and String Quartet (1931), and for Voice and Piano 

(1935); published by G. Schirmer, Inc., New York 
Overture to "The School for Scandal" (1932); distributed by G. Schirmer, Inc., 

New York (Schirmer Orchestra Rental Library) 

Sonata for Violoncello and Piano (1932); published by G. Schirmer, Inc., New 
York 

Music for a Scene from Shelley (1933); study score published by G. Schirmer, 
Inc., New York 

Symphony in E minor (1935-36) 

Piano pieces 

Choral works 

Carillon pieces; published in part by G. Schirmer, Inc., New York 

Songs 

(The songs "Daisies," "With Rue my Heart is Laden" "Bessie Bobtail," and 
"The Beggar's Song," and a four-part chorus for women's voices a capella, 
"The Virgin Martyrs," have been accepted for publication by G. Schirmer, 
Inc., New York.) 



As we go to press it is announced that Samuel Barber has been 
awarded the 1936 Pulitzer prize in music. The Columbia University 
Department of Music breaks a precedent in this, since never before has 
the award been given twice to the same musician. It is the second 
consecutive year that Mr. Barber has received this prize. 



05> 



bu tke <=:^itst'cLan ^^ ovetttment 



ON December 30, 1935, the founder and President of The Curtis 
Institute of Music, Mrs. Mary Louise Curtis Bok, received the 
Knight's Cross, First Class, of the Austrian Order of Merit, from His 
Excellency The Honorable Edgar L. G. Prochnik, Austrian Minister 
to the United States. The decoration was conferred at the direction of 
the Federal President of Austria. 

The presentation was made at the Legation in Washington, with 
a luncheon afterwards for Mrs. Bok. 

Austria is not the first foreign country to honor Mrs. Bok. Poland, 
in 1931, gave her the Order of Polonia Kestituta. 

In her own country Mrs. Bok has been honored by the University 
of Pennsylvania with the degree of Doctor of Humane Letters, and 
by Williams College with the degree of Doctor of Music. 



{ 26 > 



by LEA LUBOSHUTZ 

I HAVE just returned from a concert tour thru Europe where I fulfilled 
engagements in England, Holland, Sweden, Estonia, Latvia, Lithu- 
ania, Poland, Finland, Czechoslovakia, Hungary, Austria, and France. 
While musical life is very intense in these countries, it was interesting 
to observe the difference of standards and opinions of the musicians, 
as well as the likes and dislikes of the public in the various lands. In 
England, Bach and Beethoven seem to enjoy the greatest vogue and 
there is scarcely an orchestra or solo concert where their master works 
are not performed. The audiences are most critical and the performances 
have to be of the very highest order. In London, I had the pleasure of 
meeting my old friend and former colleague, Carl Flesch, whose per- 
formance of the Beethoven Concerto is always a great event there. 

It was an experience for me to go by plane from London to Amster- 
dam, for it was the first time I had flown, and I was elated over it. The 
airfield in Amsterdam is a veritable meeting place of the nations, and I 
was very pleased to encounter Adolph Busch, the distinguished German 
violinist, whose plane landed the same time as mine, coming from a 
different direction. We had a most interesting conversation about music 
and musicians. 

My next stop was Sweden. This country seems very prosperous and 
wide awake, with beautiful concert halls and most responsive audi- 
ences. There I saw Mary Wigman and her group perform. 

In order to reach Finland, my accompanist and I had to board an 
ice breaker, as the sea was completely frozen. I hadn't played in Fin- 
land since before the Russian Revolution, when it was a Russian pos- 
session, and I was surprised to see how completely the Russian influ- 
ence has vanished. Altho there are now many foreign members in the 
excellent orchestra in Helsingfors, they are mostly French and Italian. 
It was a pleasure to find Mr. Schneevoigt, with whom I had performed 
in Finland many years ago, at the helm of the orchestra. They are still 

{11 \ 



O V E R T O N E S 




very fond of Russian music in 
Sibelius's country and insisted 
upon my playing Tschaikow- 
ski's Violin Concerto with the 
orchestra. Living is inexpen- 
sive and musicians lead very 
happy and comfortable lives in 
Finland. 

There were great celebra- 
tions on my arrival in Estonia, 
tho not on my account ! It was 
the anniversary of their Inde- 
pendence Day. What a color- 
ful spectacle, with everybody 
turned out in full regalia ! Thru 
Latvia and Lithuania, I arrived 
eventually in Poland, which is 
very dear to me because it was 
in Warsaw I made my debut 
under Arthur Nikisch and also 
played often under my dear teacher, £mil Mlynarski. It was in the 
same auditorium with the same orchestra that I performed this time. 
While in Warsaw, I heard Prokofieff perform his newest Piano Concerto 
under Fitelberg. I learned with great interest that he had just com- 
pleted his second Violin Concerto. 

Then came sunny Budapest, the city I like best of all. Here it seems 
that love of music is most widely disseminated. For the first time I 
heard the famous gypsy orchestras, which have been praised highly 
by so many musicians. Their perfection surpassed all my expectations. 
I was especially amazed by the famous Magyars' inimitable style of 
playing. It was a great pleasure to see again my dear friend, Ernst von 
Dohnanyi. Altho Bartok and Kodaly have a very strong following in 
Budapest, works of Mozart and Beethoven still remain the favorite 
fare of the public. 

In Vienna it was natural that I should go to the opera, where a 



Mme. Lea Luboshutz and her accompanist. Eugene Helmer. 

graduate of The Curtis Institute of Music, 

arriving in Budapest 



{ 28 > 



OVE R T O N E S 



superb performance of Kosenkavalier was given. Here I had also the 
pleasure of seeing again my old friend, Moriz Rosenthal. 

My next stop was Prague, and then Paris on the way home. Musical 
life in Paris was quite a change after Budapest and Vienna, for music 
does not seem to have the same importance in the French capital. 
Perhaps it isn't fair to make such a statement, however, since I had 
barely forty-eight hours to spend in France before I boarded my ship 
for America. 



{ 29 } 



d-^/f^t^ ^ke^kci^^ku^ 33 



THE artistic reputation of Shura Cherkassky has been growing apace. 
Early in 1935 this pianist received a contract from the Soviet Gov- 
ernment to give a number of concerts in Russia. In February he left, but 
not before giving a recital in Town Hall, New York City, on the 9th. 

The Russian tour consisted of concerts in Moscow, Leningrad, 
Kharkov, and Odessa, his birthplace, and an appearance with the 
Leningrad Philharmonic Symphony Orchestra. Cherkassky also visited 
other parts of Russia as a tourist, being greatly interested in the present 
development of his native country. 

He returned to the United States with another big tour ahead of 
him. While in Finland he had learned he was booked for concerts in the 
Far East. It was early summer and he had a month before he must leave. 
Seizing the opportunity the interlude presented him, not for rest but 
for study with his teacher. Dr. Josef Hofmann, Cherkassky hurried to 
Maine, where he spent July playing and practicing under his master's 
artistic guidance. 

The following month Cherkassky crossed the continent and sailed 
from San Francisco for Yokohama by way of Honolulu. In Japan he 
appeared in Tokyo (in Hibiya-Hall), in Osaka, and in Kyoto, and 
Kobe, vastly enjoying both the beauty of the Flowery Empire and the 
enthusiasm with which audiences and critics received him everywhere 
he played. 

He then went to China and played in Shanghai, where he had great 
success. 

Apparently Russia had fascinated the Russian-born youth, for he 
decided to return to New York by way of Siberia, Russia, the rest of 
Europe, and the Atlantic, rather than to make the Pacific voyage. He 
accordingly turned north upon leaving China, traveling by rail thru 
Manchuria. On the long Siberian journey he says he practiced con- 

{ 30 > 



O VE RT O N E S 




SHUILA. CHERKASSKY 
playing in Moscow, in the spring of 1935 



stantly on his small dummy piano, greatly exciting the curiosity of his 
fellow travelers. He stopped briefly in Moscow and went on to Paris, 
where he spent a week-end and attended one of Dr. Hofmann's con- 
certs. He arrived in New^ York early in December. 

On the evening of January 27, 1936, Cherkassky appeared as soloist 
with the National Orchestral Association under Leon Barzin in Carnegie 
Hall, and on Saturday afternoon, February 1st, gave a recital in Town 
Hall. Later in the season he played in St. Paul, Minnesota; Granville, 
Ohio; Baltimore; Red Bank, New Jersey; Miami; and Brooklyn. On 
April 28th he was guest artist with Mildred Dilling at the Embassy 
of the Union of Soviet Socialist Republics in Washington, D. C. 



As a child, Shura Cherkassky played in the city of his birth, Odessa, 
and coming soon afterwards to the United States, made his debut in 
Baltimore and appeared in New York City, at the age of eleven. While 
still very young he toured the British Isles (with Albert Coates and 
the London Symphony Orchestra), Australia, New Zealand, and South 
Africa, and appeared in Paris and Berlin. More recently he has appeared 
in Montreal, Quebec, Winnipeg, and Ottawa, and in Minneapolis. 



<31 > 



l/l/e (^ ate It Ui\7 In LJut /<CevattLna 



MOST particularly do we not wish to be accused of possessing any 
such elderly traits as "reminiscing," "living in the past," and so 
on, but some of the ^occurrences of the time that has elapsed between 
our last issue (May 1932) and the end of the school year 1934-35 
are so significant that we cannot refrain from harking back at least in 
some degree. 

During this period of our retirement, four graduates of The Curtis 
Institute of Music were accepted by the Metropolitan Opera Company 
of New York. Three of these are now widely known — Rose Bampton, 
Irra Petina, and Helen Jepson. The fourth, Charlotte Symons, soprano, 
had her first season this year with the company. Miss Jepson's debut, 
as Heletie in the premiere on January 24, 1935, of In the Pasha s Garden 
(music by John Laurence Seymour), with Lawrence Tibbett as the 
Pasha, Ettore Panizza conducting, was thoroly covered by the critics. 
Her activities and Miss Bampton's are too well publicized to require 
review here. 

One graduate had some rather unique operatic experience during 
this time. This is Edwina Eustis, who won not a few laurels for her 
work with the Art of Musical Russia. The part that Miss Eustis played 
in this company's productions is the more remarkable because of her 
being almost the only American in a company of Russian-born people 
devoted to a thoroly Russian repertoire. One of Miss Eustis's appear- 
ances was on the occasion of Efrem Zimbalist's conducting a perform- 
ance of Tschaikowsky's Eugen Onegin, on February 24, 1935, at the 
Mecca Auditorium, New York City, in which Miss Eustis sang Olga. 

The brilliant operatic season of the Philadelphia Orchestra in 1934- 
35 afforded great opportunity for many Curtis students and graduates. 

'Detailed accounts of the years 1932-33 and 1933-34 may be found in typewritten copies of Overtones 
(Vols. IV and V) in the Library of The Curtis Institute of Music. 

Continued on page ;8 

in} 



*==A- kJi^I to tke C^naLUk Ji4.blL 



ee 



PHILADELPHIA iiiade a unique contribution to the celebration of the 
twenty-fifth anniversary of His Majesty King George V's accession 
to the throne. 

When the Philadelphia branch of The English-Speaking Union 
undertook to send an offering to His Majesty's Silver Jubilee it was 
the inspiration of one of its members to make that offering music. The 
project rapidly assumed definite shape under the enthusiastic mould- 
ing of the committee, emerging as the presentation of two concerts 
in London under the auspices of The English-Speaking Union of the 
British Empire. 

The ten young artists chosen by the committee to give the concerts 
were graduates of The Curtis Institute of Music: Rose Bampton, Agnes 
Davis, and Benjamin de Loache, singers; Philip Frank, violinist; The 
Curtis String Quartet; Martha Halbwachs Massena, pianist; Elizabeth 
Westmoreland, accompanist. 

The plans were carried out to a brilliantly successful conclusion. 
The first concert was given at the home of Lord and Lady Astor in St. 
James's Square on the evening of June 25th. About three hundred 
people, many prominent in diplomatic, official, and social circles, were 
gathered together by Lady Astor to meet the visiting artists, all of 
whom were present altho not all participated in the concert. The 
program was : 

Bessie Bobtail ) n i n i 

\\j un x/TTT Tj > • • • • SamueL Barber 

With Rue My Heart is Laden j 

Captain Stratton's Fancy Deems Taylor 

Benjamin de Loache 

Ah, Love But a Day! Mrs. H. H. A. Beach 

T^ > Samuel Barber 

Dance j 

Rose Bampton 



{33} 



OVERTONES 



Serenade Samuel Barber 

Italian Dance Gian-Carlo Menotti 

The Curtis String Quartet 

The Sea Has Covered Her Face . Edith Evans Braun 

Mary's entrance aria, 1 

from "Peter Ibbetson" I Deems Taylor 

The Rivals j 

Lament of Ian the Proud Charles T. Griffes 

Rose Bampton 
Negro Spirituals: 

Go Down, Moses! 

Joshua Fit de Battle ob Jericho 

My Lord, What a Mornin'! 

It's Me, Oh Lord! 

Benjamin de Loache 

Dover Beach Samuel Barber 

Rose Bampton and The Curtis String Quartet 

After this concert Lord Reading was kind enough to write the 
President of The Curtis Institute about the "admirable and talented 
group of musicians" of whose visit he said he was able to inform 
His Majesty the King. Letters also were received from Lady Astor 
and Sir Evelyn Wench. 

The second concert was given at the American Embassy on the 
afternoon of June 28th, with a tea given by the Ambassador and Mrs. 
Bingham. The program: 

Sing to Me, Sing! Sidney Homer 

Contentment Marian Coryell 

Bird of the Wilderness Edward Horsman 

Agnes Davis 

Etchings Albert Spalding 

October — Books — Professor — Impatience — Games 
— Sunday Morning — Hurdy Gurdy — Ghosts — 
Happiness 

From the Cane-brake Samuel Gardner 

Philip Frank 

{ 34 > 



OVE RTO N E S 



Scottish Poem Edward MacDowell 

The White Peacock Charles T. Griffes 

Fantasy Harl McDonald 

Nirvana Ernest Bloch 

Two Preludes George Gershwin 

Martha Halbwachs Massena 

May Day Carol Deems Taylor 

The Sleep That Flits on Baby's Eyes . . John Alden Carpenter 

Do Not Go, My Lovel „ . , , „ 

At the Well / K^chard Hageman 

Agnes davis 

Sonata for Violin and Piano Harold Morris 

Adagio 

Allegro vigoroso 

Philip Frank and Martha Halbwachs Massena 

Elizabeth Westmoreland was the accompanist for both concerts. 

The ten young people were very cordially received by the British 
people and were entertained at luncheon by the Dowager Lady 
Swaythling in her home in Kensington Court, at luncheon by Sir Henry 
Wood at the Langham Hotel, and at tea by some Members of Parlia- 
ment at the House of Commons. 

It is the object of The English-Speaking Union "to draw together 
in the bond of comradeship the English-speaking peoples of the 
world." . . . The music carried across the sea and presented in the 
British capital as a contribution to the festivities was the work of 
United States composers. The ten young artists who performed it were 
United States citizens, every one trained to his art in that country. 
They made the voyage to England and back expressly for the purpose 
of conveying their gift. In this gift from one English-speaking people 
to another the bond of comradeship was manifest. 



i35> 










to .2 
s 

5e^ 



cr:^ L^kantbet yl/UiMc i^-ancett lh J^own ^^r-rall 



THE outstanding "special" event of the current season of The Curtis 
Institute of Music taking place outside the school was a concert of 
chamber music given in Tow^n Hall, New York City, on Tuesday eve- 
ning, March 24th. Dr. Louis Bailly of the faculty was in charge. 

A string orchestra was used, as well as a string quartet, piano, and 
violin, and the organ in Town Hall. The assisting artists were Jennie 
Robinor, pianist (graduate 1934 in Chamber Music), Philip Frank, 
'34, violinist, and Claribel Gegenheimer, student of Organ. 

Six Dances by Claude Gervaise (sixteenth century), revised and 
adapted for string orchestra by Rosario Scalero, opened the program, 
after which Ernest Chausson's Concert for Piano and Violin Soli and 
String Quartet was played. 

After the intermission the string orchestra returned to the stage and 
played the Triptyque of Alexandre Tansman. Handel's Concerto for Organ 
and Orchestra, Opus 4, Number 5, a work rarely performed, followed. 
Ernest Bloch's Concerto Grosso for Piano and String Orchestra was the 
final number. 

Dr. Bailly conducted all works other than the Chausson Concert, 
which is performed without a conductor. 



{37> 



J^ke K^u'LoyeayL J-an^c^ oj: <^eme K^iitlL^ ^^alk 



I 



T WAS to be expected that some of the ten young people giving the 
Jubilee concerts for The English-Speaking Union would not be con- 
tent to come home without at least a look at the continent. Two of 
them made concert tours before returning to their own country. 



Upon leaving London, Philip Frank proceeded to Vienna, where 
he settled down for several weeks. Late in August this violinist tested 
the reactions of continental audiences to his playing by making public 
appearances in Bad Ausee and Bad Ischl. He then gave a recital in the 
Wienersaal of the Mozarteum Academy, Salzburg. A short time after- 
wards he went on tour. In Budapest he had Erica Morini, Professor 
Leo Weiner, and others of the musical world, in his audience. Going 
on to Geneva, Mr. Frank gave a recital in the Salle du Conservatoire . In 
Brussels four days later he appeared at the Palais des Beaux- Arts. His 
final concert before sailing was in The Hague. 



PHILIP FRANK in Vienna 




Elizabeth Westmoreland, accompa- 
nist, went from London to Paris, where 
she spent July, later making a pleasure 
trip to Switzerland . She j oined Mr . Frank 
at Salzburg, playing his accompaniments 
in Bad Ausee, Bad Ischl, and Salzburg, 
and later shared his program given in 
the Brussels Palais des Beaux- Arts . She 
was also his accompanist for his recital 
in The Hague. After a short interval, 
spent in Paris, Miss Westmoreland pro- 
ceeded to London, where she met another 



<38> 



O V E R T O N E S 



Curtis graduate, Irra Petina, whom she j^ 
accompanied on a concert tour, return- 
ing to the United States late in November. 



Irra Petina, mezzo-soprano of the 
Metropolitan Opera Company, arrived 
in London toward the end of September. 
In the middle of October she gave a 
recital in Wigmore Hall, and went on 
to a tour of Berlin, Vienna, Warsaw, 
and Budapest. Returning to London 
in November she appeared again in 
Wigmore Hall before sailing back to 
the United States for the operatic season. 




ELIZABETH WESTMORELAND and IRRA 
PETINA in Warsaw 



All of these young artists were making their first appearances in 
Europe. 



{ 39 > 



J^kc K^uttiA <:^ttLna ^^^aattel 



EVEN before The Curtis String Quartet had left the American shores, 
which it did by way of Canada, for its first appearance on the other 
side of the Atlantic, it had received a cabled invitation from the 
British Broadcasting Corporation to give a concert with Rose Bampton 
on the air during the time these young artists were to be in London. 
A most generous portion of the British radio time-table was offered 
the Americans, the Quartet being asked to play a total of fifty-five 
minutes, and the entire concert to last an hour and a quarter. Works 
of contemporary American composers were especially requested, to 
balance the classical works that were to make up the first half of 
the program. 

Hastily collecting some additional music — the time was very short 
— the Quartet made up its program while motoring from Rockport, 
Maine, to Quebec, and then learned one complete work while crossing 
on the Empress of Britain. 

The concert was given on Sunday, June 30, 1935- The Quartet had 
already played at the home of Lord and Lady Astor in one of the 
concerts given for the British Jubilee. The radio program opened with 
the Haydn Qiiartet, Opus 54, Number 2, after which Miss Bampton 
sang some German Ueder. The rest of the concert was devoted to 
modern works, the John Alden Carpenter jQ^^f^r/^^r, Gian-Carlo Menotti's 
Italian Dance, and '^ Dover Beach' ^ (Barber) for voice and string quartet, 
with Walter Kramer's "Tivo Souls,'' Edith Evans Braun's ^^ Clouds," 
and Samuel Barber's "Daisies" and "Dance" coming midway. 

Returning to the United States early in July, the Quartet spent the 
rest of the summer in Maine, giving its annual series of concerts in 
Bar Harbor and Sorrento. 

A New England tour occupied the early part of the winter, during 
which the Quartet made its seventh annual appearance at the Harvard 

•{ 40 > 



OVE RT O N E S 



Musical Association in Boston, its fourth at Bowdoin College, Bruns- 
wick, Maine, and its third at Hotchkiss School, Lakeville, Connecticut, 
giving concerts also in Waterville, Maine, and Rowayton, Connecticut. 
The Quartet also gave concerts at Cornell University, Ithaca, and the 
Tuesday Music Club in Schenectady, and then appeared at the Cosmo- 
politan Club, NewT York City, and gave one of the concerts of the 
Washington Irving High School Music Series, in New York City. The 
southern tour embraced concerts in Nashville; Arlington, Commerce, 
and Nacogdoches, Texas ;Fayetteville and Arkadelphia, Arkansas; and 




r^ 




THE CURTIS STRING QUARTET 



{41 > 



OVE RT O N E S 



Shreveport, Louisiana. 

In Philadelphia the Quartet has given its own annual series of 
concerts, which is becoming an outstanding feature of the city's winter 
musical season. The 1935-36 series consisted of four concerts given in 
the Plays and Players Theatre. 

In April the Quartet filled a return engagement in Sweet Brier, 
Virginia, and played also in Richmond, besides making a few addi- 
tional appearances in and near Philadelphia. 

The members of The Curtis String Quartet are Jascha Brodsky and 
Charlesjaffe, violins, Max Aronoff, viola, andOrlandoCole, violoncello. 



i 42 } 




7 

an(L j:am,LlLat <z=>^iicc^ lh new lylace^ 



MR. Alexander McCurdy was engaged to teach Organ and Church 
Choir Conducting and began his duties at the Institute at the 
beginning of the current year. He is a graduate of The Curtis Institute, 
having studied with Dr. Lynnwood Farnam, his early musical training 
having been obtained in San Francisco with Wallace A. Sabin. Cali- 
fornia is Mr. McCurdy's native state. After an early beginning at play- 
ing church services at the age of twelve, the steady upward climb of his 
career commenced, and he successfully filled positions as organist in 
large churches in Oakland and San Francisco. In 1924 he gave a recital 
in Town Hall, New York City, which marked his first appearance in 
the east. He is a concert organist of considerable experience, having 
played upon most of the larger organs of the United States. Since 1927 
he has been organist and choirmaster of the Second Presbyterian 
Church, Philadelphia. He is also special recitalist at Swarthmore Col- 
lege, giving an annual series of ten recitals in the Clothier Auditorium. 
On June 1, 1936, Susquehanna University is to confer upon Mr. McCurdy 
the honorary degree of Doctor of Music. 

Mr. Wilhelm von Wymetal, Jr., instructor in Operatic Acting, was 
released early in the winter to permit his accepting a position with the 
Metro-Goldwyn-Mayer Corporation in Hollywood, and Dr. Ernst 
Joseph Maria Lert was brought to the school in March as operatic 
instructor. 

Dr. Lert was born in Vienna and obtained his Ph.D. degree at the 
University there. Playwright and stage director, he has been connected 
with the leading theatres in Vienna, Leipzig, Frankfurt-am-Main, 
Milan (where he collaborated with Toscanini at the La Scala Opera), 
Turin, Genoa, and Florence, with an interlude at the Metropolitan in 
New York. He has also produced opera at the Salzburg Festivals, and 
in Barcelona, Paris, Buenos Aires, Berlin, and Venice. He has lectured 

{ 43 } 



OVE RT O N E S 



at Universities in Europe and the United States and is the author of 
tAoxart auf dem. Theater. He has made translations and adaptations of 
plays and operas and has contributed scientific and other articles to 
various European and American magazines and newspapers. 

An important organization change has consisted of the consolida- 
tion of the Dean's and Student Counselor's offices with that of the 
Director. Dr. Josef Hofmann, who thus became Director and Dean, ap- 
pointed Mrs. Dorothy Lynch, former Student Counselor, as Assistant 
to the Director. She retains her former duties in addition to those of the 
Director's office. 

At the end of December 1935, Mr. H. W. Eastman, Comptroller 
1924-1935, retired. His period of service dated from the founding of the 
school. Beginning in January 1936, Mr. Jay H. Mattis assumed the 
duties of Comptroller. 



•{ 44 > 



cr^ ^elte*c hcapft ^:/n-en*cL J-c^nLaitka^ 29 



(This letter, written at London July 6, 1935, was sent to Mrs. Bok. Temianka, 
pupil of Carl Flesch, also studied Conducting at The Curtis Institute under Dr. 
Artur Rodzinski. After leaving the Institute, Temianka, born of Polish parents 
in Scotland, returned to Europe, spent some time on the continent, and then 
went to London to live. — EdJ) 

I FEEL I owe you an apology for not writing to you in such a long 
time, and particularly when I have been having so many interesting 
experiences during this period. But I am sure you realize how difficult 
it is to write while being on a strenuous tour and working hard to 
remain constantly at the top of one's form. And while in Russia I 
would utilize every free hour I could snatch to visit places of interest. 
I remained there for more than six weeks and played and saw a great 
deal. In Leningrad I gave four concerts within six days at the Phil- 
harmonic, then went on to Moscow, Kiev, Kharkov, and finally the 
Caucasus, which is perhaps the most amazing part of the country, 
combining scenery of the utmost magnificence and variety with a 
multitude of races and types . . . My success in Russia has been very 
satisfying, and before I had even finished the present tour, I was offered 
a new contract to return there in December, when I shall make another 
extensive tour and further gramophone records. 

"From other countries I have also the most pleasant news to com- 
municate; my recent debut in Switzerland has brought me a tour 
culminating in an orchestral appearance with Ansermet in Geneve 
(Brahms Concerto, November next). In Poland I also have an extensive 
tour of three weeks with an orchestral appearance at the Warsaw 
Philharmonic. Other concerts next season will take me to Norway, 
Sweden, Holland, Belgium, Hungary, Estonia, and of course En- 
gland. I feel that I have been making very definite headway in my 
career this last year, and while I continue to work and plan and build 
I can never forget for one moment how greatly I am indebted to you 

■{ 45 } 



OV E R T O N E S 



and The Curtis Institute in every imaginable respect, and how every 
result and success now attained is rooted in the foundations laid in 
Philadelphia. 

"My present stay in England is only of short duration, as I am 
going to hold a summer course in Salzburg from July 15th until September 
1st, which some violinists from various countries as well as a few of 
my own pupils from England will attend. A number of my English 
pupils are already doing very well and making good in public work. 

"I was so delighted to see and hear my old fellow students from 
The Curtis Institute again when they performed here last week, and 
I greatly appreciated your kind thought in having me invited to the 
special concert at the American Embassy. They have made a very 
fine impression and I am hoping that I may witness their return and 
continued success here." 



Not only were Mr. Temianka's expectations for the present season 
fulfilled but they were exceeded. His winter tour began October 27th 
with a concert in Rotterdam, after which concerts in The Hague, 
London, Glasgow, Luxemburg, Geneva, San Sebastian, Bilbao, 
Madrid, Warsaw, Cracow, Lodz, Vilna, Kalinin, Moscow, Rostow, 
Baku, Kharkov, Odessa, Leningrad, Helsingfors, Wiborg, Reval, 
Tartu, Stockholm, Oslo, Burnley, and Antwerp rapidly followed, 
until when Mr. Temianka returned to London at the end of February 
he had played fifty-six concerts, and moreover had received return 
engagements for next season at many of these places. We heard that 
in March he expected to play in England, and in April and May in 
Roumania, Poland, and perhaps Switzerland. 

Ysaye, shortly before his death some years ago, said to this young 
artist that what he found lacking in his playing was a hundred con- 
cert engagements. Certainly Temianka has now more than made up 
the deficiency. 



•{ 46 > 



c 



aJicitza^ 



HELEN Jepson '34 made a rather startling success, we hear, in 
Chicago with her Thais, being warmly acclaimed by no less a 
person than Mary Garden. . . . Rose Bampton '34 has added one more 
symphony orchestra to her achievements, the NewYork-Philharmonic, 
with which she appeared as soloist under Toscanini in March and 
again in April. . . . Irra Petina '35 is on her way to South America for 
a four-months' operatic season in Buenos Aires. . . . Agnes Davis '34 
is rounding out her first big concert season with a coast-to-coast tour 
with Charles Hackett. . . . 

Boris Goldovsky '34, who is chorus master and assistant conductor 
of the Cleveland Orchestra opera, conducted two performances of Die 
Fledermaus, was piano soloist with the Orchestra, and lectured on the 
four operas performed by the Orchestra in 1935-36, Carmen, Der Kosen- 
kavalier. Die Fledermaus, and Parsifal. He has been engaged as head of 
the Opera School of the Cleveland Institute of Music. . . . Margaret 
Codd '34, Albert Mahler '34, Abrasha Robofsky '35, and Eugene Loe- 
wenthal (student) appeared in the Cleveland Orchestra operatic 
performances. . . . 

Inez Gorman was the Eva of Mr. Goossens's performances of Die 
Meistersi77ger sung in English with the Cincinnati Symphony in March, 
Eugene Loewenthal the Pogfier. . . . 

William van den Burg '33 is assistant conductor of the San Francisco 
Symphony Orchestra. . . . 

Philip Frank '34, violinist, dashed off to the south for a concert 
tour of four weeks and twenty-four concerts immediately upon return- 
ing from Europe in September, then took a breathing spell, and played 
in Syracuse and Troy, appeared with the Cincinnati Symphony and 
Goossens, and gave a recital in Town Hall. . . . 

The Curtis Institute was well represented in Town Hall this winter 

{ 47 > 



O VE RTO N E S 



with recitals by Tatiana Sanzewitch '35, pianist, Ezra Rachlin, pianist 
(still a student), Shura Cherkassky '35, pianist, Philip Frank, Benja- 
min de Loache '34, baritone (winner of the Naumberg prize), and 
Conrad Thibault '34, baritone, not to speak of the Institute's own 
concert by the Chamber Music Department. . . . 

The Institute also had a satisfactory number of its students and 
graduates appearing as soloists with the Philadelphia Orchestra, 
William Harms '34, pianist, Eudice Shapiro '35, violinist, Jeanne 
Behrend '34, pianist, Jeanette Weinstein, pianist (student). Vera 
Resnikoff, soprano (student), Agnes Davis, and Helen Jepson. . . . 
Sol Kaplan, pianist (student), was soloist in one of the Philadelphia 
Orchestra "Youth" concerts. . . . Margot Ros, one of the Institute's 
youngest students, aged ten, a pianist, played the Mozart Concerto with 
the Philadelphia Orchestra in the Children's Concert conducted by 
Stokowski on December 21, 1935- • • • Margot also played David 
Diamond's Concerto for a Precocious Child Pianist in a concert given by the 
Philadelphia Chamber Orchestra and Composers' Laboratory about 
this same time. . . . 

Victor Gottlieb '35, cellist, who became a member of the Phila- 
delphia Orchestra in October 1935, was released by that organization 
in March in order that he might become the 'cello of the string quartet 
being formed by Mrs. Elizabeth Sprague Coolidge to play in the 
Library of Congress; the other members of the quartet are William 
Kroll, Nicolai Berezowsky, and Nicolai Moldavan, and concerts were 
given almost immediately. . . . 

Two singers are exceptionally happy about new positions, Daniel 
Healy '34, who became Dean of the Duquesne University School of 
Music at Pittsburgh in the autumn of 1935, and Walter Vassar '34, who 
is now head of the Voice Department at Greensboro College in Greens- 
boro, North Carolina. . . . 

Gian-Carlo Menotti '33 is having his Pastorale for Piano and String 
Orchestra distributed by G. Schirmer of New York, in the Schirmer 
Orchestra Rental Library, and his Poemetti -per Maria Rosa (piano pieces 
for children) have been accepted for publication by Ricordi. . . . 
Ralph Berkowitz '35 had his transcription of a Toccata by Frescobaldi 
for two pianos accepted by Universal Editions, Vienna, and his 



{ 48 > 



OVE RTO N E S 



arrangement of the Kreutzer-Kaufman Etude-Caprice for two pianos 
accepted by Schirmer .... 

Eugene Helmer '35 was chosen by Madame Lea Luboshutz to play 
her accompaniments in Europe where she toured during February and 
March. . . . 

Jean-Marie Robinault '34, pianist, of Paris, made a brief spring 
visit to the United States during which he played the Tschaikowsky 
Concerto with the Richmond (Virginia) Symphony Orchestra, Wheeler 
Beckett conductor, and gave a recital for the Richmond Musicians 
Club; he reported winter concerts in Zurich, Stuttgart, Munich, and 
Berlin. . . . 

Jeanne Behrend '34 won the Joseph H. Bearnes musical composition 
prize for 1935- ■ • • 

And (stop the presses, we must get this in!) — Samuel Barber wins 
his second Pulitzer prize. 



< 49 > 



O V E R T O N E S 



Andante . 




Continued from page zo 

lune, and a Spanish Dance by Granados; the Panis Angelicus from M.esse 
solennelle (Franck), the Scherxptto from Vierne's Pieces in Free Style, 
Karg-Elert's Choral Improvisation Adorn thyself, my Soul, and the 
Finale from Widor's Symphony Number 2, with Schubert's Die AlUnacht 

sung to organ accompaniment at 
the end. On Wednesday, April 
29th, the "signature music" of 
the Curtis Institute hour (Berceuse, 
Opus 20, No. 5 — .Josef Hofmann) 
was first heard on the air, being 
played by Dr. Hofmann himself 
at the beginning of the broadcast 
and, Mr. Zimbalist having ar- 
ranged the work for violin and 
piano, by Mr. Zimbalist and Dr. Hofmann again at the end. Hence- 
forth the Berceuse, played by students after this auspicious inaugura- 
tion, will be the Curtis Institute radio "signature." This is the seventh 
year of these radio concerts, which were begun at the invitation of the 
Columbia Broadcasting System, the concerts being broadcast over 
Columbia's coast-to-coast network. 

The Concert Course consists of programs given for schools, colleges, 
and clubs within a hundred-mile radius of Philadelphia. Twenty con- 
certs were scheduled for the current year for vocal, piano, violin, 'cello, 
and harp soloists, and woodwind and chamber music ensembles, in 
Pennsylvania, New Jersey, Delaware, and Maryland. An operatic pro- 
gram consisting of scenes from Faust, Nlartha, and The Bartered Bride, 
given in costume, and sung and acted to piano accompaniment, was 
presented for the Woman's Club of Woodbury, New Jersey. 

Besides the concerts of the Concert Course, a series of fourteen 
musicales was booked for various private homes of members of the As- 
sociation of Main Line Women's Clubs (suburban Philadelphia). 

A concert was given by the Chamber Music Department in Town 
Hall, New York City, and is reported under its own heading (page 37)- 



•{ 50 > 



OVE RT O N E S 




Photographs by Albtrt Pttirsm 



Fritz Krueger, Charlotte Daniels, and Robert Topping 
as Vashek, Marie, and Jenik in The Bartered Bride 



The harp ensemble and the Curtis Symphony Orchestra were asked 
by the chairman of the Philadelphia United Campaign to give concerts 
in the Commercial Museum in behalf of the drive. The harp concert, 
v^^hich Mr. Salzedo conducted, was given on March 15th, and the 
Orchestra, conducted by Mr. Reiner, played its concert on March 20th. 
Both concerts were broadcast. 

The Concert Bureau was very active, booking numerous profes- 
sional engagements for the students. Outstanding under this heading 
was the engagement of three singers for two performances of The 
Bartered Bride given at Bucknell University on the evenings of February 
27th and 28th. These singers, Charlotte Daniels, Fritz Krueger, and 
Robert Topping, performed the principal roles of Marie, Vashek, and 
Jenik. Other parts, including those of orchestra and conductor, were 
taken by members of the Bucknell student body and faculty. A wood- 
wind ensemble was engaged to play at the dedication of a new build- 
ing, an addition, for the Georgetown (Delaware) School on December 
6th. William Harms, pianist, gave a recital for the Piano Teachers' 
Association of Erie, Pennsylvania, in that city on February 3d, and 
Leonard Treash, baritone, a recital at Bryn Mawr College on December 
16th. The Trio Classique (Eudice Shapiro, violin, Ardelle Hookins, 
flute, and Virginia Majewski, viola) gave a concert at the Oak Lane 
Review Club, Philadelphia, on January 15th, and another one at the 



<51> 



OVE RT O N E S 



New Century Club, Chester, Pennsylvania, on February 4th. Miscel- 
laneous other engagements have been many. 

Three organ students obtained church positions: Claribel Gegen- 
heimer, at the Bryn Mawr Presbyterian Church; Oscar Eiermann, at 
St. Ann's Episcopal Church, Willow Grove, Pennsylvania; and Richard 
Purvis, at the Tioga Methodist Church, Philadelphia. 

Three important events, in which guest artists participated, occurred 
in Casimir Hall during the season. The first was a recital by Dr. Ernest 
Hutcheson, eminent pianist and Dean of the Juilliard School of Music, 
and Mr. Felix Salmond, of the Curtis Institute faculty, on Wednesday 
evening, November 27th. Dr. Hutcheson and Mr. Salmond played the 
five Sonatas of Beethoven for piano and 'cello. 

The second event was a lecture, "The Saga of Music," delivered by 
Dr. Heinrich Simon, of London, on Friday evening, April 3d. Dr. 
Simon, who formerly owned and published the newspaper founded by 
his grandfather, the Frankfurter Zeitiing (Frankfurt-am-Rhein), is also a 
pianist. Students assisted in several musical illustrations required by 
the lecturer. 

The third was a program in honor of the great pianist, composer, 
and statesman, Ignace Jan Paderewski, now in his seventy-sixth year, 
given by his pupil and friend, Sigismond Stojowski, on the evening of 
Thursday, April 16th. The short piano program — Variations and Fugue ^ 
Nocturne, Caprice Qgenre Scarlatti), Legende, and Cracovienne Fantastique — 
was supplemented by the Sonata for Violin and Piano, played by a 
Curtis graduate, Eudice Shapiro, and Madame Stojowska. 



OnTuesday evening, January yth, Mr. Alexander McCurdy, organist, 
gave the first faculty recital of the season, which was also Mr. McCurdy 's 
first appearance in Casimir Hall as a member of the faculty. Mr. 
McCurdy played the Prelude and Fugue in E minor, four Chorale Preludes, 
and the Vivace from the Second Frio Sonata of Bach; two Sketches of 
Robert Schumann; the Brahms chorale " Es ist ein Ros' entsprungen" ; de 
Maleingreau's "Fhe Fumult in the Praetorium^ \ "The Legend of the 
Mountain" from Sigfrid Karg-Elert's "Seven Pastels from the Lake of 
Constance" \ and Cesar Franck's Final in B-flat major. 

{52} 



OVERTONES 



Dr. Josef Hofmann, Director of The Curtis Institute, played a three- 
sonata program on Thursday evening, April 2d, the F minor Schumann, 
the Opus 110 of Beethoven, and the B minor of Chopin. 

Dr. Louis Bailly, violist, gave the third concert in the faculty series 
on Thursday evening, April 30th, v^ith Mr. Harry Kaufman, official 
accompanist of the Institute, at the piano. Dr. Bailly's program con- 
sisted of the Sonatas of Hindemith (Opus 25, Number 1 — for viola 
alone), Rachmaninoff (G minor. Opus 19), Senaille (revised by Vincent 
dTndy), and Wassilenko; and the Adagio from Bach's Toccata in C. 



The student series in Casimir Hall opened with a graduation recital 
in the Harp Department, on Thursday evening, January 16th. The 
recital was given by Marjorie Tyre, student under Mr. Salzedo, and in- 
cluded Mr. Salzedo 's Concerto for Harp and Seven Wind Instruments, 
performed that evening for the first time in Philadelphia. The required 
wind instruments — flute, oboe, two clarinets, bassoon, horn, and 
trumpet — were selected from the student body. Miss Tyre will receive 
the Diploma of The Curtis Institute of Music in May. She has been a 
member of the Philadelphia Orchestra since 1932. 

On Sunday afternoon, January 19th, Ezra Rachlin, pupil of Mr. 
David Saperton, gave a piano recital in Casimir Hall. 

Another harpist, Isabel Ibach, played her graduation recital on 
Thursday evening, February 27th. Mr. Salzedo's transcription of 
Brahms 's Lullaby was given its first performance by Miss Ibach in this 
recital. A student string orchestra assisted Miss Ibach in performing 
Debussy's Danse Profane and Danse Sacree. The number was conducted 
by Mr. Salzedo. Miss Ibach will receive the degree of Bachelor of Music 
in May. 

Students of Violoncello under Mr. Salmond — William Klenz, 
Joseph Druian, Harry Gorodetzer, Samuel Mayes, and Leonard Rose — 
gave a concert on the evening of March 10th. Ralph Berkowitz, gradu- 
ate in Accompanying under Mr. Harry Kaufman and studio accompanist 
for Mr. Salmond, was at the piano for the program. The orchestral 
score of Ernest Bloch's Schelomo (performed by Mr. Mayes) had been 
arranged by Mr. Berkowitz for two pianos; for it Ethel Evans, student 
under Mr. Kaufman, assisted at the second piano. Eudice Shapiro, 

(53> 



O V E R T O N E S 



graduate in Violin under Mr. Zimbalist, assisted in the performance of 
the Brahms Concerto for Violin and Violoncello (Opus 102). 

On Sunday evening, March 22d, the chamber music program being 
prepared under Dr. Bailly's direction for Town Hall was given a "dress 
rehearsal." 

Students of Voice under Miss van Emden — Elsie MacFarlane, con- 
tralto, Barbara Thorne, soprano, Charlotte Daniels, soprano, Jane 
Shoaf, soprano, and Selma Amansky, soprano (the last a graduate 
doing post-graduate work) — gave a concert on Friday evening, March 
27th. Vladimir Sokoloff, student under Mr. Kaufman, accompanied. 

Another graduation recital, a joint one, was given on Monday eve- 
ning, March 30th, by Leon Zawisza and David Frisina, students of 
Violin under Mr. Hilsberg. Ethel Evans, student under Mr. Kaufman, 
at the piano. Mr. Zawisza and Mr. Frisina will receive the Diploma of 
The Curtis Institute at the May exercises. 

On Thursday evening, April 9th, there was a concert by students in 
Woodwind Ensemble under Mr. Marcel Tabuteau. 

Students of Violin under Mr. Efrem Zimbalist — Oskar Shumsky, 
Noah Bielski, and Frederick Vogelgesang — with Vladimir Sokoloff at 
the piano gave the next concert on Thursday evening, April 23d. 

Piano students under Mr. David Saperton — Constance Russell, 
Mildred Gordon, Richard Goodman (who is to be graduated with the 
Bachelor of Music degree in May), Eleanor Blum, and Sidney Finkel- 
stein — appeared in Casimir Hall on Friday evening, April 24th. 

Margot Ros, student in Piano with Madame Martha Halbwachs 
Massena, played a recital in the Hall on Monday evening, April 27th. 

On Tuesday evening, April 28th, Piano students of Madame Isa- 
belle Vengerova — Phyllis Moss, Annette Elkanova, Sol Kaplan, and 
Zadel Skolovsky — gave a concert. 

As we go to press the following student recitals are scheduled, 
taking us thru to the end of the school year: May 4th — students in 
Voice under Mr. Emilio de Gogorza (Fritz Krueger, Leonard Treash, 
Robert Topping, William Home, Lester Englander, Eugene Loewen- 
thal, and Vera ResnikofF); May 5th — students in Chamber Music under 
Dr. Louis Bailly ; May 8th — graduation recital of ^Charles Jaffe, student 

•Charles Jaffe and Victor Gottlieb received the Diploma of The Curtis Institute of Music in May 1935, 

{ 54 } 



OVE RT O N E S 



of Violin under Mr. Efrem Zimbalist; May 11th — graduation recital 
of ^Victor Gottlieb, student in Violoncello under Mr. Felix Salmond; 
May 14th — graduation recital of Maryjane Mayhew, student of Harp 
under Mr. Carlos Salzedo receiving the Bachelor of Music degree May 
19th. 



In the spring The Curtis Institute received evidence of a most cordial 
good fellowship emanating from two external organizations, one a 
large commercial corporation. April is audition month at the Institute. 
Ordinarily, auditions are held at the Institute building in Philadelphia 
and while there is no fee the applicant must meet his own expenses, a 
matter of some proportions when a long journey is involved. But this 
audition time eleven orchestra instrument teachers were touring and 
visiting all parts of the country with the Philadelphia Orchestra. 

Holding auditions afield is not a new idea at The Curtis Institute; it 
is, in fact, a policy to permit faculty members to hear applicants while 
on tour. It was desired that the Philadelphia Orchestra Curtis Institute 
teachers do just this. 

When the matter was broached, Mr. Stokowski enthusiastically 
agreed to cooperate. Then it was that the RCA- Victor Company, learn- 
ing what was afoot, fell in with the project, offering its facilities in 
announcing the auditions and extending the hospitality of its studios. 
A member of the Curtis staff. Miss Helen Hoopes, went ahead to make 
the necessary arrangements, and auditions in orchestra instruments 
were held in the cities of the Philadelphia Orchestra's tour. 

Thus the Philadelphia Orchestra and the RCA- Victor Company 
worked hand-in-hand with The Curtis Institute to the ultimate benefit 
of American youth and American symphony orchestras. 



A visitor w^ho made several calls during the year was Mr. Ber- 
nardino Molinari. We were most happy to show him our school and 
especially delighted to have him listen to our orchestra. 

The annual Christmas party took place on the evening of December 
19th, putting Curtis folk into a gala mood for the holidays. A huge 

and received postgraduate supervision in their major subjects in 1935-36. 

{55> 



OVERTONES 



Christmas tree was set up in the Common Room, and festoons and 
wreaths of laurel and holly decorated the adjoining rooms and cor- 
ridors. For weeks an air of mystery had hung about. 

The students had worked hard and ingeniously to create a surprise. 
As one entered Casimir Hall, whither one had been guided, part of the 
surprise was immediately apparent. For there was a specially con- 
structed stage, with a curtain and an orchestra "pit," part of the 
students' labors, all set up to display the rest of them, the piece de re- 
sistance^ which was the surprise (or surprises) of the evening, a series of 
presentations by each of the several departments of the school, under 
the "direction" of the students. An amazing symphony orchestra and a 
stupendous brass band, each with its own dynamic conductor, extra- 
ordinary violin and piano soloists, a harp dramatization and a chamber 
music parody, and very grand opera — these were some of the attrac- 
tions that followed each other in breathless succession. As at a three- 
ring circus, there was something doing every minute. 

After supper, served early for the benefit of the hard-working 
"artists," dancing took place in the cleared Casimir Hall. 

Thru the year, informal tea was served in the Common Room on 
Tuesdays. 

The usual reception and dance will follow the graduation exercises. 



Our third Commencement will be held on the afternoon of Tuesday, 
May 19th. The ^candidates for graduation are: 

(to receive the Diploma of The Curtis Institute of Music) — 
Ernani Angelucci, in French Horn 
Rhadames Angelucci, in Oboe 
Simon Asin, in Viola 
Harold Bennett, in Flute 
Warren Burkhart, in Trombone 
Alvin Dinkin, in Viola 
David Frisina, in Violin 
Cecille Geschichter, in Piano 
Marian Head, in Violin 
Arnold Jacobs, in Tuba 

'List subject to correction 

{56 > 



OVE RT O N E S 



Leonard Mogill, in Viola 
Oskar Shumsky, in Violin 
Frank Sinatra, in Percussion 
Vladimir Sokoloff, in Accompanying 
Jean Spitzer, in Violin 
Marjorie Tyre, in Harp 
Herman Watkins, in French Horn 
Jeanette Weinstein, in Piano 
Leon Zawisza, in Violin 
(to receive the Degree in Course Bachelor of Music)- 
Charlotte Daniels, in Voice 
Richard Goodman, in Piano 
John Harmaala, in Trumpet 
Isabel Ibach, in Harp 
Eugene Loewenthal, in Voice 
^Virginia Majewski, in Viola 
Maryjane Mayhew, in Harp 
Charlotte Ridley, in Voice 
Irene Singer, in Voice 
Leonard Treash, in Voice 
Louis Vyner, in Viola and Conducting 



During the year The Curtis Institute received two valued gifts from 
the families of two former members of the faculty, the has relief por- 
traits of the late Madame Marcella Sembrich by Gruppe, and the late 
Louis Svecenski by Vuchinich. The Sembrich plaque hangs in the 
studio where the beloved singer used to teach, a room used also by the 
Director for teaching, eloquently commemorating both the association 
of Madame Sembrich with the school and the long friendship between 
the two artists. The portrait plaque of Mr. Svecenski has been placed in 
the balcony corridor of the main building. . . . Another former 
member of the faculty is permanently represented in our halls, the late 
Dr. Lynnwood Farnam, by an oil portrait presented by his father. 

^Virginia Majewski received the Diploma of The Curtis Institute of Music in May 1935 and completed 
the Degree course in 1935-36. 



{->!} 



OVE RTO N E S 



Continued from page j2 

The uncut Tristan performances under Fritz Reiner, Carmen conducted 
by Alexander Smallens, Der Kosenkavalier under Mr. Reiner's direction, 
Haensel and Gretel (sung in English), Mr. Smallens conducting, Gluck's 
Iphigenie en Aulide, under Mr. Smallens, Boris Godounojf, under Mr. 
Smallens, Falsfaff (in English), Mr. Reiner conducting. The Marriage 
of Figaro (sung in English), Mr. Reiner conducting, and Die Meister- 
singer, with Mr. Reiner conducting, being the entire series with but one 
exception, all included Curtis singers in their casts. Outstanding was 
the work of Agnes Davis, who sang such roles as Mistress Marianne 
Leitmetier and Mistress Ford, Margaret Codd, whose roles included 
Gretel and Cheruhino, and Eugene Loewenthal, who made numerous ap- 
pearances and did some fine work as Pistol in Falstajf. Irra Petina was 
the Feodor of the Boris performances, a role which she endows with 
individuality, and Edwina Eustis the Marina, Miss Eustis appearing 
also in Falstaff as Dame Quickly. 

In Cleveland, numerous singers of Curtis Institute production ap- 
peared in the operatic series of the Cleveland Orchestra under Dr. Artur 
Rodzinski in the winter of 1934-35- Among them were Miss Eustis, 
who sang Fricka in Die Walkiire, Eugene Loewenthal, who was the 
Lodovico in Verdi's Otello, Abrasha Robofsky, whose performance of the 
Sacristan in Tosca was declared by the Cleveland Plain Dealer to be "a 
little masterpiece," and Albert Mahler, who made several appearances 
in roles he has sung many times. 

Orchestral solo appearances during this time have been many, both 
by students and graduates. Mr. Stokowski's uncut performance, on 
three days, of Parsifal with the Philadelphia Orchestra in the spring of 
1933 included sixteen Curtis students and one graduate. Rose Bampton. 
Miss Bampton sang Ktmdry with brilliant success, receiving warmest 
praise from the critics. Agnes Davis, Rose Bampton, and Eugene Loe- 
wenthal were soloists in the performance of the Ninth Symphony in 
April 1934, by Mr. Stokowski and the Philadelphia Orchestra. In the 

•{ 58 > 



OVE RT O N E S 



season of 1934-35 Rose Bampton was soloist in the first performance 
of Bach's great Mass in B minor ever to be given by the Philadelphia 
Orchestra (Mr. Stokowski conducted), and Agnes Davis was the 
soprano soloist in the "Resurrection ' Symphony of Gustav Mahler, given 
with Eugene Ormandy as guest conductor. Numerous other Curtis 
artists, including Irra Petina, Iso Briselli (violinist) and Boris Gol- 
dovsky (pianist), were soloists in the Philadelphia Orchestra 1934-35 
series of "Pop" concerts. Shura Cherkassky made his first appearance in 
Minneapolis in March 1934 when he was soloist under Ormandy with 
the Minneapolis Symphony Orchestra, and Agnes Davis appeared twice 
in December 1935 (two programs) with that Orchestra in its home 
city, also under Mr. Ormandy. . . . Space does not permit a complete 
listing of all orchestral appearances of Curtis folk. 

Five graduates and one student of The Curtis Institute gave recitals 
in Town Hall: Philip Frank, violinist, Oskar Shumsky, violinist 
(student), Nadia Reisenberg, pianist, Natalie Bodanskaya, soprano, 
Shura Cherkassky, pianist, and Rose Bampton, mezzo-soprano. Phila- 
delphia recitals included those of Jeanne Behrend, pianist, Benjamin 
de Loache, baritone, and Marjorie Tyre, harpist of the Philadelphia 
Orchestra. Again space does not allow a complete listing. 

The Robin Hood Dell concerts of the Philadelphia Orchestra con- 
tinued to give students and graduates opportunity for professional 
work during summers. 

Three Curtis graduates in Composition (Samuel Barber, Roland J. 
Leich, and Harlow John Mills) won Joseph H. Bearnes prizes for 
musical composition, Mr. Barber and Mr. Leich receiving awards for 
1933 and Mr. Mills an award for 1934. It was the second time Mr. 
Barber had received one of these prizes. Mr. Leich also won the Carl 
F. Lauber Music Award for 1933- Benjamin de Loache, baritone, won a 
Walter W. Naumberg Musical Foundation prize in April 1935, carrying 
a debut in Town Hall, and Leonard Treash, baritone, won a prize given 
by the National Federation of Music Clubs. Samuel Barber in 1935 won 
both the Pulitzer award or scholarship for European study and the 
Prix de Rome. 

Jorge Bolet, pianist, in 1934 received from his native country the 
signal honor of a diplomatic passport which states that he holds the 



•( 59 > 



OVERTONES 



"honorary commission of the Secretary of Education to realize his 
plans for the diffusion of Cuban music." 

Alexander McCurdy, organist and choirmaster of the Second Pres- 
byterian Church, is one of the most active of Philadelphia organists. 
At his church Mr. McCurdy is wonderfully successful in presenting the 
larger works of the great masters, such as the Bach Cantatas, the 
Kequiems of Brahms and Mozart, the Cesar Franck Mass in A, and the 
'^Stabat Mater' of both Dvorak and Rossini. During the winter of 
1934-35 he produced the complete Passion According to St. Matthew, of 
Bach, on four Sunday afternoons, with his choir, soloists, a boy choir 
from Old Christ Church, and an orchestra from the Philadelphia 
Orchestra, assisted of course by the organ. 

Shura Cherkassky toured Russia in the spring of 1935- 

Two Europeans who came to The Curtis Institute for their musical 
training reported some very successful concerts. Henri Temianka, 
London violinist, who has during the past several years toured exten- 
sively in the Netherlands, Austria, France, and the British Isles, made 
several appearances in 1934 in London, playing in Wigmore Hall and 
in the Queens Hall Promenade Concerts under Sir Henry Wood, and 
made his first Russian tour. Jean-Marie Robinault, pianist, resident of 
Paris, had some brilliant successes in Holland, Switzerland, Germany 
and England. 

In 1934 the first publication of students' original compositions oc- 
curred. It consisted of music for the carillon. In 1930 and 1931 The 
Curtis Institute sent a group of students of composition to Florida for 
the purpose of studying the carillon to the end that works especially 
for bells might be produced. These students joined other Curtis students 
of the Organ Department at Mountain Lake and took up the theory and 
practice of bell playing with Mr. Anton Brees, carillonneur of the 
Mountain Lake Singing Tower. Mr. Rosario Scalero, head of the De- 
partment of Composition, also visited Mountain Lake during these 
two winters in the interest of carillon music. The music published con- 
sisted of Samuel Barber's Siiite for Carillon, Gian-Carlo Menotti's Six 
Compositions for Carillon, and Nino Rota's Campane a Sera and Campane a 
Festa, and was brought out as The Curtis Institute of Music Carillon Series 
by G. Schirmer, Inc. 



•( 60 > 



OVE RT O N E S 



One of the distinctive features of student life at The Curtis Institute 
of Music is frequent appearance in public. As soon as they are ready 
for it, students are sent out by the Institute to obtain by gradual degrees 
a knowledge of concertizing. They perform upon the concert and 
operatic stage and before the microphone, gaining thru actual experi- 
ence a thoro familiarity with professional life as an artist. 

The Curtis Institute provides this training thru several channels: 
an annual series of weekly radio concerts broadcast over the nation- 
wide network of the Columbia Broadcasting System, an annual series 
of concerts known as The Concert Course of The Curtis Institute of 
Music, in which students appear at schools, colleges, and clubs within 
a hundred-mile radius of Philadelphia, and special concerts by depart- 
ments as scheduled from time to time. The students appear as soloists 
and in ensemble. Concerts by The Curtis Symphony Orchestra con- 
ducted by Fritz Reiner, chamber music groups in various formations 
under Dr. Louis Bailly , and woodwind ensembles under Marcel Tabuteau 
are frequent. 

For seven years (1928-35) The Curtis Institute presented annually a 
series of chamber music concerts in the Pennsylvania Museum of Art, 
Philadelphia. Dr. Bailly, under whose artistic direction the concerts 
were given, produced many novelties, premieres, and works of unusual 
interest including the Faure 'Siequtem for Voice, Chorus, Organ and 
Orchestra (first secular performance in the United States), the Tansman 
Triptyque for String Orchestra (first performance in Philadelphia), the 
Abergavenny (Bourgault-Ducoudray) for Flute and String Quartet, 
Chausson's Chanso7i Perpetuelle for Voice and String Orchestra, Four 
Poems for Voice, Viola and String Orchestra, Poulenc's Rapsodie Negre 
for Voice and Orchestra, Ravel's Shehera^ade for Voice and Orchestra, 
and his Introduction and Allegro for Harp, Flute, Clarinet and String 
Quartet, Schonberg's Verklarte Nacht String Sextet (given with the 
composer in the audience), the Svendsen String Octet, Opus 3, and 
Zilcher's setting of the Song of Solomon for Voice and String Quartet, 
and his Marienlieder for Voice and String Quartet. 

In the season of 1934-35 the presentation by the combined forces of 
the orchestral and operatic departments of The Barber of Seville under 
the musical direction of Mr. Reiner was of especial interest. The per- 



{ 61 > 



OVE RT O N E S 



formances were decidedly novel, being characterized by distinct enun- 
ciation of an excellent English translation of the libretto, which 
aroused the delighted comment of audience and press, and ingenious 
and amusing stage settings especially prepared at the direction of Dr. 
Herbert Graf. Mr. Reiner conducted. Performances were given in the 
Academy of Music, Philadelphia, for the Philadelphia Forum, and in 
the concert hall of The Juilliard School of Music, New York City, at 
the invitation of the Juilliard Graduate School. A distinguished audi- 
ence gathered upon the occasion of the latter performance. 

On February 12, 1934, six young people of The Curtis Institute gave 
a concert at The White House. They were the Curtis String Quartet, 
graduate ensemble, Jennie Robinor, pianist, graduate in Chamber 
Music, and Irene Singer, soprano, student of Voice. In the audience 
were the President and Mrs. Roosevelt, Mrs. Nicholas Longworth, 
and many others prominent in national affairs. 

Public appearances such as these are assigned students as required 
work and an essential part of their course of study. 



In 1934 The Curtis Institute of Music inaugurated the policy of 
granting degrees in course. In the light of degree requirements, students 
of The Curtis Institute of necessity fall into two distinct classes. Ac- 
cording to the Curtis standard of admission there is one primary req- 
uisite demanded of students, that they be gifted musically. The posses- 
sion of sufficient musical talent, while other qualifications are to be 
met, is almost positive assurance in itself of acceptance. This being so, 
it is inevitable that young students gaining admission, while measur- 
ing up to the musical requirements of The Curtis Institute, lack upon 
admission the degree entrance requirements in academic work. While 
these young students, some of whom come from foreign countries, are 
tutored at the Institute in the common branches of academic study, it is 
the rare exception who succeeds in covering the standard high school 
course. This is so for many reasons, some of which are quite apparent, 
which need not be discussed here. Consequently, students upon reach- 
ing graduate status musically may or may not have met the academic 
requirements of a degree. 

{ 62 > 



O V E R T O N E S 



The policy of awarding diplomas and degrees at graduation was 
made retroactive. The diploma of The Curtis Institute of Music is given 
to every student at graduation whether or not he receives a degree. 

The first Commencement was held on the afternoon of May 22, 

1934. Seventy-eight students were graduated, thirty-four receiving the 
degree Bachelor of Music. The honorary degree of Doctor of Music 
was conferred on Madame Marcella Sembrich and Professor Leopold 
Godowsky. In May 1935, one hundred and fourteen students were 
graduated, twenty-three receiving the degree Bachelor of Music. 

The honorary degree of Doctor of Music was conferred July 16, 

1935, upon Wiktor Labunski. 



These are the high lights of the three years just prior to the present 
one, whose events are related under another heading. 



•{63 } 



by SARAH HETTINGER 



THE Library of The Curtis Institute of Music has acquired some 
interesting and worthwhile music and books during the seasons 
1934-35 and 1935-36 and now comprises 28,600 volumes. Among 
the most important recent acquisitions are first editions of Wagner, 
Beethoven, Schubert, Chopin, Moussorgsky, Debussy, and others. 

Perhaps the most extraordinary item is an exceptionally fine copy 
of a very small book by Joannes Aurelius Augurelles, Carmina^ that 
came to us in November 1935- This very rare book, of seventy-five 
pages in Latin, contains one of the earliest known illustrations of the 
Viol de Gamba. Published in Verona in July 1491, "this copy be- 
longed to Francesco Giambullari, the famous Florentine historian and 
literateur of the 16th century, and has his autograph signature at the 
end of the volume, below the colophon." From thence, after some 
unknown wanderings, it became the property of Henry William Poor 
who had it beautifully bound in red levant morocco. This small 
treasure is carefully preserved along with other irreplaceable volumes 
in the Library, the two ^Antiphonaries and the very precious book of 
^Organ Preludes by Adam Ileborgh. 

The first editions include works by a varied group of composers. 
Perhaps the most unusual of these is a conductor's score of Richard 
Wagner's first complete opera. Die Feen, a romantic opera in three 
acts. This work was composed in 1833 but was not performed until 
many years later, at Munich, in 1888. The opera remained unpublished 
for a long time and was at last brought out in a privately printed edi- 
tion by the King of Bavaria about the year 1872. There never was a 
reprint. Our copy is in excellent condition, and the score is very 
interesting as an example of the great composer's early work. 



'Overtones, Vol. 1, p. 93- 
^Overtones, Vol. 1, p. 119. 



•{ 64 } 



O VE RT O N E S 



Another Wagner item of the first editions is a piano-vocal score of 
his last opera, Parsifal. This was published by B. Schott's Sons 
(Mayence) in 1882. 

Another important acquisition is the vocal score with piano re- 
duction of Moussorgsky's Boris Godounov, first edition. This work 
has Russian text thruout and was published by Bessels of Moscow, in 
1875, a year after the first performance at the Mariinski Theatre in 
St. Petersburg. 

We have also acquired the piano-vocal score of Beethoven's 
Fidelio (Vienna: Artaria, 1814), and the piano-vocal scores of Debussy's 
Pelleas et Melisande (Paris: E. Fromont, 1902) and Richard Strauss's 
Elektra (Berlin: Adolph Furstner, 1908), the latter a presentation copy 
with the composer's autograph. 

The piano works in these recently acquired first editions are 
Beethoven's Sonata, Opus 111, dedicated to the Archduc Rodolphe 
d'Autriche, published by Schlesinger in Berlin, April 1823; Brahms's 
Zwei Rhapsodien, Opus 79 (Berlin: Simrock, 1880); Chopin's Ballade, 
Opus 52, and his Berceuse, Opus 57 (Leipzig: Breitkopf & Hartel, 
February 1843, and May 1845); and Schumann's Carnaval (Leipzig: 
Breitkopf & Hartel, 1834). 

Franck's Quatuor is here in score only (Paris: J. Hamelle, 1889), as 
is the case for the orchestral work of Rimsky-Korsakow, Scheherazade 
(Leipzig: Belaieff, 1889). Just the opposite is true of Brahms's Sym- 
phonie No. 4 (Berlin: Simrock, 1886), for the parts are all of this 
important work that we have in first edition. 

Schubert's Premier grand trio. Opus 99 (Vienna: Diabelli, 1836) com- 
pletes the list of first editions most recently added to The Curtis 
Institute of Music Library. 



Of the several large collections of music that recently have been 
given to the Library we shall mention only one, not because apprecia- 
tion of other gifts is lacking but because of the very particular interest 
of this collection. 

The trustees of The Drexel Institute of Art, Science and Industry 
where it had been in custody, and the heirs of Charles H. Jarvis, by 
joint action, presented the music library of this Philadelphian to The 

■(65 > 



OVE RT O N E S 



Curtis Institute of Music in January 1935- This library was moved 
to The Curtis Institute in March of that year and, known as the 
Charles H. Jarvis Memorial Library, it now occupies a space on the 
balcony of the second floor of the main building. 

There are about seventeen hundred volumes in this collection. 
Most of the works are by classical composers and those whose works 
were new and modern — and popular — during the last quarter of the 
nineteenth century. The collection is made up of chamber music, 
piano-vocal scores of operas, miniature scores of orchestral works, 
and piano and violin solo works, but also in the Jarvis Library is an 
invaluable addition to any reference library, a set of sixty-eight 
volumes comprising all of the works of Wolfgang Amadeus Mozart. 
This is one of the very few complete sets of the Breitkopf and Hartel 
edition in this country, and its excellent condition and beautiful bind- 
ing make it an even rarer acquisition. 



About fifty new titles have been added to the library of the Two- 
Piano Department. These include arrangements of symphonic works 
by representative composers and some works written originally for 
two pianos. Some classical, and numerous modern French and Ameri- 
can writers are represented in the catalog of this class. 

As to books, there are few to report. Music being of prime interest 
and importance to us, works of music naturally receive first thought, 
works about music and those who make it come afterwards. Just a 
word as to the scope and interest of a few books recently received : 

Ehrmann, Alfred von: Johannes Brahms — Weg, Werk und Welt 
(Leipzig: Breitkopf & Hartel, 1933)- An excellent and recent 
biography. 

Erskine, John: A Musical Companion (New York: Knopf, 1936). 
This work is a condensation of a work of similar title edited 
and published in England by A. L. Bacharach. It aims to give 
necessary detail about various musical forms, and to give enough 
historical background to be a complete musical companion even 
to the lay reader. 

{ 66 > 



O VE R T O N E S 



EwEN, David: The Man with the Baton (New York: Crowell, 
1936). An interesting series of sketches of modern conductors 
in America and Europe, with comments on their methods of 
conducting. Their reactions to both orchestra members and 
audience and their effect on both groups are intelligently and 
sympathetically set forth. 

Hale, Philip: Philip Hale's Boston Symphony Programme Notes: 
Historical, Critical and Descriptive Comment on Music and Com- 
posers. Edited by John N. Burk. (New York: Doubleday, 
Doran & Company, 1935.) The title of this book covers rather 
thoroly its contents. To those already acquainted with Mr. 
Hale's work it is sufficient; to others it need only be added that 
the notes are particularly valuable where he deals with modern 
composers and their works, since much information will be 
found here that is difficult to locate elsewhere. 

Samaroff Stokowski, Olga: The Layman s Music Book (New York: 
W. W. Norton & Company, 1935). This work, altho written 
for the layman, will be of value as an authoritative and ready 
reference to all music students. Valuable items are the lists of 
books suggested for correlated reading, and musical composi- 
tions suggested as illustrations, given at the end of each chapter. 



{61 } 



OVERTONES 



JANUARY 1937 



THE 

CURTIS INSTITUTE 

OF MUSIC 



OVERTONES 



PUBLISHED BY 



THE CURTIS INSTITUTE of MUSIC 

RITTENHOUSE SQUARE 
PHILADELPHIA • PENNSYLVANIA 



Vol. VII— No. I January 1937 

OVERTONES 

ELSIE HUTT, Editor 

Contents 

ARTICLES 

PAGE 

Memories of Ernestine Schumann-Heink Edith Evans Braun 5 

Mexican Impressions Carlos Salxedo 9 

Consider a Graduate — Editorial 12 

Curtis Graduates Everywhere 15 

They Toured Europe 20 

Concerning the Faculty 21 

In Summer We Relax — ? 25 

Coming Events 29 

Student Activities 32 

Social Activities 45 

The New Recording Department Gordon Mapes 47 

ILLUSTRATIONS 

Ernestine Schumann-Heink and Johannes Brahms 4 

Madame Schumann-Heink and her Accompanist 8 

Dr. Carlos Salzedo 10 

Curtis String Quartet and Samuel Barber 14 

Valadimir Sokoloff 16 

Mrs. Mary Louise Curtis Bok and Mr. Fritz Reiner 24 

Gian Carlo Menotti and Samuel Barber 26 

Irra Petina 27 

Gian Carlo Menotti 31 

Alexander McCurdy, Mus. D 43 

Cafeteria of The Curtis Institute 46 

Permission is granted to reproduce parts of this magazine provided due acknowledgment is made to Overtones. Copyright 1937 by The Curtis 
Institute of Music. Printed in the United States of America. 

<3> 




.M^ 



ERNESTINE SCHUMANN-HEINK and JOHANNES BRAHMS 



Courtesy of Mrs. Braun 



by EDITH EVANS BRAUN 

ON Christmas Eve in 191 5 we were gathered around a Christmas 
tree in the large living room of the San Diego home of Madame 
Ernestine Schumann-Heink. The tree was loaded down with all the 
things that go to make a happy Yuletide. The great singer was sur- 
rounded by her children and grandchildren. 

Only one thing marred the occasion, and that was the fact that her 
son, Hans, was ill with typhoid fever in the hospital in San Diego. 
Nevertheless, a joyous spirit prevailed and after all gifts were ex- 
changed the song she had made famous. Holy Night, was reverently 
sung by the entire family at the conclusion of the evening. 

The next day Madame and her party left for a little excursion to 
Riverside. While at Riverside Inn the sad news was received that Hans 
was much worse and could not survive. 

We started back immediately for San Diego, arriving at the hospital 
in the evening, where Madame remained with her boy until he died 
at about two o'clock in the morning. 

She then made the fourteen-mile trip out to her home on Grossmont 
in her car, alone, in those hours of the morning before daylight when 
all life seems to be at its low^est ebb. 

We were all assembled as she staggered into the living room, a 
grief-stricken woman, quite different from the one who had so joy- 
ously set forth a short time before. 

She spent hours beside the body of her son, and his burial was 
accompanied by all the solemn ritual of the High Mass for the dead 
of the Catholic Church. 

She sang no concerts that January, and her first engagement was at 
the White House, upon the invitation of President Wilson. 

There had been unprecedented rainfall in California that winter, 
so that many of the roads were impassable. We had to allow two days 

{5> 



OVERTONES 



for the motor trip from San Diego to Los Angeles, a trip that ordinarily 
took but a few hours. It was really a perilous journey. Bridges were 
washed out and highways had disappeared. At night, when it was so 
dark we had to cautiously feel our way along the many detours, we 
almost went over the mountain side. At times we despaired of ever 
reaching our destination. 

However, we pulled into the station in Los Angeles one half-hour 
before the last train departed that would bring us east in time for 
our concert. 

We arrived in Washington and gave the concert at the White House 
in honor of the Supreme Court Judges and their wives. President Wilson 
had been recently married to the attractive Mrs. Boiling. Madame 
Schumann-Heink always insisted that the President slept soundly 
thru the entire program. 

After the United States entered the War Madame devoted most of 
her time to singing at Liberty Loan Drives and visiting the camps to 
sing for "my boys," as she called the American soldiers. She gave of 
herself without stint during this time, altho her oldest son, August, 
was in the German Navy, and was eventually killed in a submarine. 

Ernestine Schumann-Heink was the daughter of an Austrian officer, 
and often described her life as a child, brought up in a military atmos- 
phere. Nothing appealed to her more than brass buttons and army life. 

Hers was a great personality! 

Her brilliant, dark eyes, beautiful, white, wavy hair, fresh skin, 
and stocky, vigorous body made an unforgettable impression. Her 
energy was incredible! 

Altho sixty years of age at that time, she traveled over fifty thou- 
sand miles a year. She was a veritable gypsy and only entirely happy 
in a train or an automobile. She thought nothing of going from Cali- 
fornia to New York for one concert and returning again immediately. 

Her chief diversion, when on tour, was to go to the movies. Often 
we attended four a day, two in the afternoon, rushing back to the hotel 
for dinner, and then two more in the evening. 

We were in St. Louis for a concert and had gone to a movie theatre 
in a suburb, one evening, to see her favorite actor, William Hart, of 
cowboy fame. As our taxi was turning around in front of the theatre 



<6> 



OVERTONES 



to bring us back to our hotel, the engine stalled and a street car, rush- 
ing down the hill, struck us and shoved us down the track for several 
yards. The impact was so great that it threw Madame to the floor of 
the cab striking her back violently on the edge of the seat. She thought 
she was dying, for the pain was severe, and she had, in fact, broken 
three ribs. 

We spent five weeks in the old Planters Hotel there that spring, 
while she recuperated, and as she knew Mr. Hart she wrote him a very 
humorous letter, blaming him for the accident. He promptly sent her 
three photographs of himself saying, to her great delight, that there 
was one for each rib. 

Madame Schumann-Heink claimed that the finest voices in the 
world were American voices, and she often remarked about the excel- 
lent vocal teachers we sometimes encountered in little country towns, 
who were unknown and unheralded. 

She herself had three programs prepared and seldom learned new 
songs. If she became interested in a new one, her first question was 
always "What story does it tell?" The music was second in importance 
to her. 

She practically never practiced, occasionally vocalizing, very 
lightly, scales and arpeggios that would have done credit to a colora- 
tura soprano. 

Upon the day of a concert she had her dinner at noon, never eating 
before singing, and would order sandwiches in her room before 
retiring. 

As an interpreter Madame Schumann-Heink had few equals. She 
made of each song a tragedy or a comedy, as the text required, creating 
a mood, and carrying her audience spellbound with her. 

Many critics would say in their reviews that Madame Schumann- 
Heink's arrival in a town was like old home week, and her love for her 
American public was genuine and deeply felt. 

That particular type of diva took herself and her art with the 
utmost seriousness. There was never anything casual in her approach 
to her work. Everything in her life was sacrificed to her career. It was 
an era of the grand manner. 

She sometimes spoke of her experience in opera at Hamburg in the 



{7> 



OVERTONES 




At the old Waldorf-Astoria, New York City, 1917 

Madame Schumann-H eink gives her accompanist a lesson 

in darning 



early days, and was very proud of the fact that Brahms, when visiting 
his native city, would always ask to hear "die Heink" in Carmen. 

Anyone who has heard Madame Schumann-Heink as Erda or 
Brangaene can never forget it, for she was brought up in the true Wagner 
tradition at Bayreuth. 

It was a rare privilege to be associated, for nearly four years, with 
such an artist and such a woman! 



The author of this article, before her marriage, was accompanist for Madame Ernestine Schumann- 
Heink, for nearly four years. Pianist and composer, Mrs. Braun is a member of the Board of Directors of 
The Curtis Institute of Music. — Ed. 



o> 



by CARLOS SALZEDO, MUS. D. 



THE evolution of the Mexican public toward "pure" music is rela- 
tively recent. It is due chiefly to the remarkable pioneer work of 
the composer Carlos Chavez, conductor of the Orqutsta Sinjonka. In 
years past, Mexico, like other Latin-American republics, was chiefly 
interested in vocal art and occasional virtuosos and string quartets. 

With my eminent colleagues, Georges Barrere, flutist, and Horace 
Britt, violoncellist, I went to Mexico last spring, at the invitation of 
the Sociedad Filannonica, an organization born of Mexico's new musical 
consciousness. 

Artists visiting Mexico have but two alternatives: pack up after 
the first recital, or go on indefinitely with more recitals. 

Latins have the reputation of "shooting" their enthusiasm, but it 
would be inexact to believe that they do not show their disapproval 
with equal sincerity! 

An amusing characteristic of Mexican audiences is the sudden 
hushing of the applause when it is judged that an artist has been 
sufficiently acclaimed. 

The Mexican public is as refined as it is eclectic. Rarely in my 
career have I experienced a deeper appreciation of the classics of the 
XVII and XVIII centuries. As to contemporary music, Mexicans are 
not afraid of it. The latest work of Edgar Varese, Density 21. j, which 
was played at one of our recitals, was enthusiastically received. 

One of the things that impressed me was the difference between 
the United States and Mexico in approach, musically speaking. In the 
United States a reputation can be built either on legitimate facts or 
on false pretense; it is a matter of skillful press work. In Mexico it is 
essentially different; one must "pay cash" with one's own potentiality. 
Mexican concert-goers think for themselves; music reviewers have 
little influence on opinions. 

{9} 




DR. CARLOS SALZEDO 

at the National University of Mexico. Mexico City, at the time of his election as Honorary Professor 
of the Superior School of Music June 2, 1936 



OVERTONES 



Our last two appearances in Mexico were with orchestra, each of us 
soloist in a concerto and conducting the orchestra for each other's 
performance. The orchestra was the Orquesta Sinfonica de la Universidad. 
A tribute of fine comradeship was shown by Jose Rocabruna, conductor 
of the orchestra, who offered to occupy the chair of concert master 
and played these two concerts under the successive direction of Barrere, 
Britt, and myself. 

Mexican tradesmen are very much interested in music. Employees 
of department stores, restaurants, haberdasheries not only were aware 
of our concerts but patronized them. It was quite an amusing experience 
to be unable to shop without being recognized. 



Following what has become a sentimental tradition, I am planning 
to give a new^ w^ork of mine. Scintillation, its first performance at The 
Curtis Institute this winter. I have no doubt that its "tempo di rumba" 
will be associated with last spring's Mexican sojourn, but as a matter 
of fact this rumba rhythm has been in my notebook since 192.9. 



The Curtis Institute of Music is host to the Philadelphia Orchestra, 
Leopold Stokowski and Eugene Ormandy, conductors, for the series of 
thirty-nine half-hour concerts broadcast by the Orchestra each Friday 
evening over the CBS network, sponsored by The Wessel Company of 
Chicago and a coast-to-coast chain of banks. This series, which began 
on November 13, 1936, will continue until the end of July. The con- 
certs go on the air from Casimir Hall. 



{ 11 > 



(^Jiitattal 



Consider a Graduate. Cloaked in robes of academic dignity, 
bearing a scroll of parchment or sheepskin, visible proof of his attain- 
ments, he pauses, the words of the commencement ceremonies ringing 
in his ears: ". . . . approved by the faculty . . ", ". . . . in recognition 
of the honorable and satisfactory completion of your studies . . . ", 
". . . . admitting you to all the rights and privileges which pertain to 
that degree." He has been smiled upon, his hand pressed, his back 
patted. All very agreeable and nice. He is rather pleased with himself. 

What now? A Period has definitely come to an end. It has been a 
period of constant day-by-day guidance, of being sent here, and told 
to do this, and possibly not to do that, of having his daily tasks meted 
out to him in the form of lessons. Perhaps during the latter stages of 
the period there has been a relaxing of this dictatorship, to the intent 
of cultivating a certain independence in preparation for what lies 
ahead. Yet there still has been intellectual supervision, direction, 
restriction, and compulsion. And unconsciously he has leaned on all 
these props and felt safe within these confines. 

Now he must fare forth, armed with a quantity of knowledge and 
confidence, to seek a place in an enormous crowd of men and women 
of superior age and experience, all doing the same work he will do 
and treading the same path. It will be very difficult. Competition, to 
use a very battered old saw, is fierce. How is he to walk thru that 
bustling and somewhat rude crowd, keep both his head and his feet, 
pass those laggards who shuffle aimlessly and drift and those weaklings 
who stumble and fall, shake off those who would distract and pull 
him back, and reach the fewer and more select numbers in the van? 
How is he to survive at all? It is a crisis. 

Consider a graduate of The Curtis Institute. He has some unique 
advantages. To begin with, there are not so many of him that in a 

{12> 



OVERTONES 



year or two he will become but a name somewhere in the official 
records. He will not have to penetrate the musical stratosphere or 
explode the musical atom to have his alma mater, thru the plaudits 
of the world, become aware of him. 

To illustrate our point fully, let us assume that the particular 
Curtis Institute graduate we are considering has distinguished himself 
during his course. Let us, forsooth, make him a composite of all the 
virtues of the entire student body. Very well then — he has been chosen 
repeatedly by the conductor of the Philadelphia Orchestra for solo 
parts in performances. He holds some profitable broadcasting contracts. 
He has been accepted by the Metropolitan Opera Company. He has 
won prizes. He even has a manager. 

With all these attainments (which are not unusual amongst the 
individuals of the student body) it might be supposed that the paragon 
would have no difficulty whatever in establishing himself. Not so! 
Between the starting place of graduation and the goal of artistic 
arrival, the path of the young musician is strewn with obstacles in the 
ugly forms of Prejudice, Ignorance, Suspicion, Antagonism: fixations 
in the public mind concerning popular idols whose pedestals are 
imperishable; the unpredictable and unaccountable vagaries of audi- 
ences; and other and even less tangible menaces to progress. 

Survival in the musical world is ultimately a matter of being the 
fittest. But even with the most excellent equipment the young musician 
may well find himself requiring help beyond his own resources. An 
Alpine rope may be the means of saving a life on a jagged mountain 
trail, and it is a foolish mountain climber who spurns the services of 
a guide. 

Now, The Curtis Institute has no magic wand to wave away all 
this. But it can and it does stand back of its graduates. It may, or it 
may not, be necessary to extend a helping hand. But where help is 
needed, and warranted, help is never withheld. 



Overtones will be issued twice a school year until further notice, 
issues being dated January and May. 



{13> 



OVE RT O N E S 



"Well," I went on, "when will you play for me?" And that child 
with the single-track mind answered "When I am ready!'' . . . 

Now I come to a picture for which I must give a preface — a Lead- 
ing Tone, as it were — with a satisfying Tonic resolution. 

It may be interesting to those who see The Curtis Institute as it is 
today to know what parts of its present structure are the unique con- 
tribution of Josef Hofmann, now its Director. 

When I asked him if he would assume the office it was two years 
before he consented, and during this time he put much thought and 
study on the problem of the school. He had been associated with it 
from its founding, as head of the Piano Department and a teacher 
himself in that Department. 

One of the first questions Josef Hofmann put to himself and to me 
was: What should be the purpose of this school? The answer, in his 
own words, has ever since been printed in our catalog: fo hand down 
thru contemporary fnasters the great traditions of the past — to teach students 
to build on this heritage for the future. This might well be called the 
Creed of The Curtis Institute. 

The purpose defined, Josef Hofmann turned his attention to methods 
whereby such a purpose could be achieved. When he assumed the 
Directorship, there was a student body numbering 229- Josef Hofmann 
has all his life believed in Quality as against Quantity, and he decided 
almost at once that if Quality was to rule at The Curtis Institute it 
was of primary importance that the number of students be — not 
increased — but reduced. He began immediately to work toward the 
goal of a smaller and better school, retaining only those students who 
seemed most promising and keeping constant watch over the latent 
artistic quality of the student body — a policy that has remained his 
ever since. 

He next pointed out to me the need for students to have the use 
oi good instruments in their homes for practice. I saw there was little 
use of school lessons if home practicing conditions were inadequate. 
Accordingly the Institute purchased Steinway pianos and other instru- 
ments to lend to students in need of them, without charge, and this 
is still the policy of the school. 



{ 14 > 



OVE RT O N E S 



He instituted public appearance for students during their school 
years, believing that young artists should acquire ease and self- 
possession thru public performance and be allowed to make their mis- 
takes in order to correct them while in the more or less obscure role 
of student. 

He advocated summer study with teachers, not at the school but 
wherever the teachers might be, the summer lessons to be confined to 
a two-month period and to be available only to students of outstanding 
quality. 

Thus Josef Hofmann shaped our school, but the most far-reaching 
change was one he suggested to me during the first year he was 
Director. It is this picture I want to present to our students. 

At this time there was a charge for tuition — five hundred dollars per 
year — tho few students paid it in full. . . . We were having tea 
together, the Director and I, and there was an unwonted eagerness 
about him. He talked rapidly, a little anxiously, and as if something 
within his mind had recently clarified, crystallizing into a conviction. 

"I have a proposition to make to you," he said, "but I don't 
know how it will strike you." "Let's hear it," I said, and added 
"Is it so revolutionary?" 

"Yes, it is," he replied. He hesitated, then went on with a mount- 
ing eagerness. "Why these tuition fees? Practically no one can pay 
them in full. With conditions as they are now there is an inequality 
of circumstance amongst the students: one pays less, or more, than 
another, and word of it gets around somehow; it creates an un- 
fortunate atmosphere because something, under it all, doesn't ring 
true. Why any tuition fees? There is an endowment. What would 
you think of abolishing tuition fees altogether? Then there would be 
some pure, fresh air thru these rooms and halls. The students w^ould 
know that only their work is of value here, and that all are on an 
equal footing." 

He was eloquent in pleading the cause of the students, and I knew 
at once that he was right. Free tuition, from then on, has been a 
prime policy of The Curtis Institute of Music. 



<15> 




IN THE COLOSSEUM 
THE CURTIS STRING QUARTET visits SAMUEL BARBER 
Rome, November 1936 



OVERTONES 



been numerous and have included recitals at the Conservatory of Music 
of Lebanon College, Annville, Pennsylvania, the First Evangelical 
Congregational Church, Reading, Pennsylvania, Chapin Hall of Wil- 
liams College, Williamstown, Massachusetts, and a dedicatory recital 
of the organ at St. Andrew's Church, Mount Holly, New Jersey. 

Carl Weinrich, head of the organ department of the Westminster 
Choir School, Princeton, New Jersey, is also instructor of organ at 
Wellesley College. He gave a recital in the Memorial Chapel at Welles- 
ley on Sunday afternoon, October i8th, opening the new organ. 

Robert Cato directed a program of organ and choral music at Christ 
Church, Philadelphia, on the evening of December 7th. Mr. Cato is 
organist and choirmaster at this beloved old church, with its myriad 
echoes of bygone events linked in the history of the United States. 
The organ at this church is the organ that formerly was in the home 
of Mr. Cyrus H. K. Curtis at Wyncote, Pennsylvania, upon which Mr. 
Curtis used to play. The organ was given to Christ Church by Mr. 
Curtis's daughter, the President of The Curtis Institute. In the program 
of December 7th Mr. Cato was assisted by two of his former school- 
mates at The Curtis Institute, Flora Bruce Greenwood, harpist, and 
Alexander McCurdy, organist. The choral works were given with the 
Christ Church boy choir, Mr. Cato conducting. 

We hear that Lucie Stern, pianist, has had a successful series of con- 
certs in Scandinavia. 

Victor Gottlieb is the violoncello of the Coolidge Quartet. This 
Quartet played the chamber music of Brahms, with assisting artists, 
in a series of eight concerts given thru the courtesy of the Elizabeth 
Sprague Coolidge Foundation of the Library of Congress, in the 
McMillin Academic Theatre of Columbia University, in November and 
December. The Coolidge Quartet plays regularly in the Library of Con- 
gress, in Washington. 

Philip Frank, violinist, was soloist with the Civic Symphony 
Orchestra under the WPA Federal Music Project in Mitten Auditorium, 
Philadelphia, November 4th. 

Bernard Frank was engaged this season to tour with Ruggiero Ricci 
as accompanist. 

Eugene Helmer is accompanist for Madame Lea Luboshutz. 



{17> 



OVERTONES 



Jan Savitt, violinist, formerly a member of the Philadelphia Orches- 
tra, is now conductor of the studio orchestra of KYW, Philadelphia 
station of the NBC system. 

Louis Vyner is conductor of the York (Pennsylvania) Symphony 
Orchestra, succeeding Sylvan Levin. 

Alfred de Long is voice teacher and choral conductor at Western 
Maryland College, Westminster, Maryland. 

Jean-Marie Robinault and Genia Robinor, pianists, and Virginia 
Majewski, violist, are members of the faculty of the Settlement 
Music School, Philadelphia. 

James Collis, clarinetist, is head of the new department of wood- 
wind and brass instruments at the Henry Street Settlement Music 
School in New York, of which Miss Grace SpofFord, former Dean of 
The Curtis Institute, is Director. 

Gama Gilbert, who studied violin at The Curtis Institute, is one of 
the New York Posfs music critics. 

Orchestra Positions 

The road from graduation, for orchestra instrument players, seems 
to lead straight from The Curtis Institute to the country's foremost 
symphony orchestras, more power to it and them! 

When the Philadelphia Orchestra began its current season, under 
Leopold Stokowski and Eugene Ormandy, four new members were 
graduates of The Curtis Institute: Lois Putlitz, violin, Simon Asin, 
viola, and Samuel Mayes and Harry Gorodetzer, 'celli. 

The Minneapolis Symphony drew Leon Frengut from the ranks of 
the Philadelphia Orchestra to its first viola chair, adding later a new 
violin, straight from the Institute, Leon Zawisza. 

From the National Symphony, Samuel Krauss went to the first 
trumpet chair in the St. Louis Symphony Orchestra, and that orchestra 
also engaged a former member of the Philadelphia Orchestra, Oscar 
Zimmerman, as first double bass. The St. Louis Symphony Orchestra 
engaged Walter Riediger, viola, in December. 

The Kansas City (Missouri) Philharmonic Orchestra has Jules Seder 
as its first bassoon and Ernani Angelucci as its first French horn. 



{ 18 } 



OVE RT O N E S 



And over in Europe Tibor de Machula, 'cello, has become a member 
of the Berlin Philharmonic. 

A Publication 

Jeanne Behrend's Suite for Piano was published in December by 
Elkan-Vogel, Philadelphia. This Suite, entitled From Dawn to Dusk, 
depicts events in a child's day — A Birdie with a Yellow Bill, Mother Is 
Sad, Because fm Bad, Let's Go Out and Play, Please Tell Us a Story, Father 
Comes Home, and Bird at Evening. 



HORATIO CONNELL 

It was with deep regret that officers, faculty, staff, and students of 
The Curtis Institute of Music noted the passing, on November i6, 
1936, of Mr. Horatio Connell, for nine years a member of the faculty. 
As instructor of voice, Mr. Connell was with us from the opening of 
our school in 192.4 until the close of the 193 2.-3 3 season, a highly 
respected and genuinely loved member of the Curtis Institute ' 'family. ' ' 



Fernando Germani, noted Italian organist and former member of 
the faculty of The Curtis Institute of Music, has announced a tour of 
the United States during January and February. 



ERRATUM 

Vol. VI, No. I, May, 1936 — p. 52., 1. 16: "Frankfurt-am-M^/w." 

{19> 



J-yicu J-ait'teJi C^ittap 



H.'cape 

J-ke i^uttiA <=>ttLnq ^^uattet 

THERE are two kinds of European concert tours. First, tours of 
Europe by those living in Europe. Second, tours of Europe by 
those having to cross an ocean to reach Europe. 

Between August and January, eight young American musicians, 
graduates of The Curtis Institute of Music, made tours of the second 
variety: Rose Bampton, Metropolitan Opera mezzo-soprano; Shura 
Cherkassky, pianist; Oskar Shumsky, violinist; Jascha Brodsky, 
Charles Jaffe, Max Aronoff, and Orlando Cole, who comprise the 
Curtis String Quartet; and Vladimir SokolofF, accompanist for Mr. 
Efrem Zimbalist. 

Miss Bampton 's tour consisted of recitals, orchestral solo and guest 
operatic appearances, and radio performances scattered over London, 
The Hague, Amsterdam, Berlin, Dresden, Gothenburg, Munich, Stock- 
holm, Prague, and Vienna. 

Mr. Cherkassky, whose stay on the continent is len-gthening indefi- 
nitely, due to added engagements and re-engagements as he goes along, 
is appearing in most of Europe's principal cities and musical centers. 

Oskar Shumsky gave recitals in Budapest, Prague, Vienna, Warsaw, 
Wilno, Stockholm, and London, and had for his accompanist none 
other than the accompanist of Mr. Efrem Zimbalist. Mr. Zimbalist, 
Shumsky's teacher at The Curtis Institute, in the utmost spirit of 
friendly cooperation, lent his accompanist, in the middle of a concert 
tour, to his pupil, and engaged for himself another, in order to fill 
the rest of his European engagements. 

The Curtis String Quartet gave recitals in Budapest, Vienna, Am- 
sterdam, The Hague, Brussels, Milan, Rome, Oxford, Cambridge, and 
London, and broadcast from Amsterdam and Vienna. 

{ 20 > 



y^^ancetmita tke <::^acitltu 



A BOOK larger than overtones would be needed for the recording 
. of the concert activities of Curtis Institute teachers. It is very- 
meet that we observe them, scarcely within our scope that we "cover" 
them. 

Dr. Josef Hofmann's winter will be another one of constant public 
appearance, with extensive tours that began early in the autumn. 

Mr. Efrem Zimbalist toured Europe from late summer until the end 
of November, and marked the twenty-fifth anniversary of his American 
debut, somewhat belatedly, with a recital in Carnegie Hall, New York 
City, on December 8th, with Mr. Samuel ChotzinofFat the piano. Mr. 
Zimbalist appeared for the first time in the United States October 2.7, 
191 1, when he was soloist with the Boston Symphony Orchestra, Max 
Fiedler, conductor. Mr. Zimbalist played on that occasion Gla- 
zounofF's Concerto, Opus 82., which is dedicated to the late Professor 
Leopold Auer. The Beethoven Association (New York City) honored 
Mr. Zimbalist 's twenty-five years of artistic renown in the United 
States with a dinner on December 5 th. 

Mr. Fritz Reiner conducted German opera for the San Francisco 
Opera Company in the War Memorial Auditorium in October and 
November, with such singers as Flagstad, Lehmann, Melchior on the 
stage, and was guest conductor of the Detroit Symphony in December. 

One of Mr. Felix Salmond's recent appearances was in Toronto 
with the Toronto Symphony Orchestra. 

Dr. Carlos Salzedo and Mr. Harry Kaufman are concertizing with 
their respective trios, the Barrere-Salzedo-Britt and the Bolognini- 
Britt-Kaufman. The New York debut of the latter occurred November 
i6th in Town Hall, a Beethoven Association event. 

Madame Lea Luboshutz left Philadelphia December 19th to fill 
concert engagements in Florida and Cuba. 

(21> 



OVERTONES 



They Appear in Casimir Hall 

On Monday evening, November 9th, Mr. Felix Salmond, violoncel- 
list, and Mr. Harry Kaufman, pianist, collaborating, gave a recital in 
Casimir Hall, of The Curtis Institute. Opening the program w^ith the 
Adagio movement from Mendelssohn-Bartholody's Sonata in D, Opus 
58, Mr. Salmond and Mr. Kaufman proceeded to a performance of the 
Sonata in C of Haydn. And then follow^ed the Sonata in C minor of 
Samuel Barber, Curtis graduate and Rome and Pulitzer prize-winner, 
with Ralph Berkowitz, graduate under Mr. Kaufman in accompanying, 
playing the piano part of this work. The Sonata in D minor of Debussy 
and the Sonata in A major of Cesar Franck were played by Mr. Salmond 
and Mr. Kaufman to complete the program. This was the first of the 
regular series of faculty recitals. 

On Wednesday evening, November 2.5th, Barrere-Salzedo-Britt pre- 
sented a concert to The Curtis Institute of Music. We were happy to 
welcome the guests, Mr. Georges Barrere and Mr. Horace Britt, to our 
hall. Mr. Barrere, flutist, is a member of the faculty of the Juilliard 
Graduate School. Mr. Britt taught violoncello at The Curtis Institute 
in the first year of its existence, 192.4-2.5. The concert began with two 
numbers played by Barrere-Salzedo-Britt, the Trio-Sonata of Pietro 
Locatelli and three Pieces en concert (La Timide, U Indiscrete, and Tam- 
hourins) of Rameau. Mr. Britt then played the Adagio and Allegro from 
Boccherini's Sonata No. 6 in A major, with harp accompaniment by 
Dr. Salzedo. The next portion of the program was for harp alone, 
consisting of Dr. Salzedo 's transcription of The Harmonious Blacksmith 
of Handel and six of his own Short Stories in Music entitled separately 
Madonna and Child, Night Breeze, Pirouetting Music Box, Behind the Bar- 
racks, Goldfish, and Skipping Rope. Mr. Barrere's flute then was heard in 
Airs de Ballet from Saint-Saens's Ascanio and the Fantaisie of Faure, 
played with Dr. Salzedo at the piano. Debussy's Children's Corner, 
transcribed for harp, flute and 'cello by Dr. Salzedo, was played by the 
three gentlemen as the final number of the program. 

Madame Lea Luboshutz, violinist, gave a recital in Casimir Hall 
on Monday evening, December yth. Opening her program with Sonata 
in D major, Vivaldi-Respighi, with Eugene Helmer, graduate in 

{21} 



OVERTONES 



accompanying, at the piano, Madame Luboshutz proceeded to the 
Sonata in G minor of Johann Sebastian Bach, for violin alone. Mr. 
Harry Kaufman came to the piano for a performance of the Sonata in 
G major of Johannes Brahms, after which Madame Luboshutz concluded 
her recital with a group of four short pieces with Mr. Helmer again at 
the piano: Andante rubato alia lingaresca (Dohnanyi), Gypsy Caprice 
(Kreisler), Moto Perpetuo (Godowsky), and Caprice, No. 2.4 (Paganini- 
Aucr). Piano accompaniment for the last was played this evening by 
Mr. Helmer, his own arrangement. This recital was the second of 
the faculty recital series. Professor Leopold Godowsky was in the 
audience. 



Dr. Ernst Lett lectured on "Producing Der King des Nibelungen " 
for the Richard Wagner Society at the Hotel Barbizon, New York 
City, in October. 

Madame Renee Longy Miquelle's book entitled Music Fundamentals, 
involving the principles that she uses in her courses at The Curtis 
Institute of Music, has been published by Elkan-Vogel, Philadelphia. 

Dr. Carlos Salzedo's latest work, Tiny Tales for Harpist Beginners, is 
being published by Elkan-Vogel. Ten Tiny Tales, comprising the first 
series, have already appeared: In Hoopskirts, The Little Princess and the 
Dancing Master, A Little Orphan in the Snow, Lullaby for a Doll, The 
Cloister at Twilight, A Mysterious Blue Light, Funeral Procession of a Tin 
Soldier, The Chimes in the Steeple, A Lost Kitten, and Pagoda of the Dragon. 



A newcomer in the faculty of The Curtis Institute of Music is 
Ruvin Heifetz, father of Jascha Heifetz. Instructor of violin, Mr. 
Heifetz the elder took up his duties at The Curtis Institute at the 
opening of the school September x8th. 

{23> 




MRS. MARY LOUISE CURTIS BOK greets MR. FRITZ REINER 
Brown's Hotel, London, June 1936 



cr^/^t c^afUfi^et l/l/e u<^elax, . . . ; 



WITH the "growing up" of students comes a metamorphosis in 
relationships. To illustrate: Josef Hofmann and Irra Petina 
come across each other in Buenos Aires. Each is visiting the city pro- 
fessionally. They are then, as Dr. Hofmann himself puts it, not Director 
and student of The Curtis Institute but colleagues. 

We think finding one's teacher or one's pupil, or one's associate's 
teacher or pupil, in Kalamazoo, giving a concert in the hall around 
the corner, or in the very same hall where one is billed to appear one- 
self, must be both a thrill and a satisfaction. And there are so many 
Curtis Institute teachers and former students — and students — concertiz- 
ing that these meetings must always be taking place. Actually, ix. is a 
small musical world, after all. 

And we have, at The Curtis Institute, the perplexing question: 
When is a student not a student? The answer seems to be: When he is 
practicing his profession. 

Summer 1936 fairly teemed with the peregrinations hither and yon 
of Curtis Institute people bent upon more or less musical pursuits. 
This year the President herself took to the sea and cruised the Arctic 
Circle. 

Looming high amongst professional travels was Dr. Hofmann 's 
monumental South American tour. 

Mr. Reiner conducted opera at Convent Garden in June. 

Mr. ^Izedo, with his confreres, Messrs. Britt and Barrere, was 
made an honorary professor of the University of Mexico, during 
Barr^re-Salzedo-Britt's musical invasion of the land of the tortilla, 
and at practically the same time was given, in absentia, an honorary 
Doctor of Music degree by the Zeck wer-Hahn Academy in Philadelphia . 

Jorge Bolet, Curtis graduate, gave two piano recitals in Havana. 
Jorge, by the way, is back at The Curtis Institute, studying, this time, 
conducting. 

<25> 



OVERTONES 



At his Castello di Montestrutto, in Italy, Mr. Scalero spent the summer 
in the familiar atmosphere of home and the classroom, with several 
of his Curtis Institute students basking in the light of his teaching. 
And in Italy also, for the summer, was an outstanding vocal student, 
Fritz Krueger, sent there by The Curtis Institute for the purpose of 
obtaining a greater knowledge of the Italian language and musical 

feeling. 

Mr. de Gogorza and Mr. Tabu- 
teau are too thoroly European not 
to hasten back across the water as 
soon as their work on the American 
side of the Atlantic is ended. 

Agnes Davis summered in the 
Dolomites, and Joseph Levine, on 
his first trip to Europe, had a lot of 
fun popping up unexpectedly on his 
friends in all sorts of places. 

Salzburg attracted several Curtis 
folk, including Dr. Bailly, Max 
Pons, and Elizabeth Westmoreland, 
and Samuel Barber and Gian Carlo 
Menotti rented the cottage of an 
Austrian hunter in St. Wolfgang to 
be convenient for the Festival and 
remained until November, immersed in composing and peace. 

Bayreuth was visited by Mr. Menotti and Mr. Barber, and also by a 
member of Curtis Institute's academic faculty, Mrs. Daniel Shumway, 
and her distinguished husband of the Pennsylvania University. The 
two composers called at Wahnfried and had an interesting chat with 
Frau Winifred Wagner. 

Opera in Buenos Aires 

Irra Petina's South American summer deserves more than casual 
reference. This vivid Russian soprano of the Metropolitan had a very 
successful season of opera, from June thru October, at the TeatroColon 
in Buenos Aires, appearing in Kigoletto, Contes d' Hoffman, Der Fliegende 




GIAN CARLO MENOTTI and SAMUEL BARBER 
in Auslria, Summer of 1936 



{ 16} 



OVE RT O N E S 



Hollander, Parsifal, NozZf di 
Figaro, Die Fledermaus, Mad- 
ama Butterfly, and Rameau's 
Castor et Pollux, under Ettore 
Panizza, Fritz Busch, Emil 
Cooper, and other conductors . 
She was soloist also in Bee- 
thoven's Ninth Symphony 
given by Mr. Busch and the 
Colon Orchestra and chorus. 
The company gave some per- 
formances in Montevideo, 
Uruguay, and Miss Petina 
appeared in Kigoletto and 
Noz,Zf di Figaro. Incidentally, 
this makes four continents 
upon which she has sung. 

But Curtis Institutites did 
not have to go abroad to 
engage in musical activity. In 
our own home town the 
Curtis graduates Eugene 
Loewenthal, Wilbur Evans, 
Abrasha Robofsky, and 
Edwina Eustis appeared in Robin Hood Dell opera under Alexander 
Smallens. Natalie Bodanskaya (who, in the Metropolitan, later changed 
her name to Bodanya to avoid confusion with another singer), Conrad 
Thibault and Martha Halbwachs Massena (who is both a graduate 
pianist and a member of the faculty) appeared as soloists in the Dell 
symphony concerts under Eraser Harrison, Willem van Hoogstraten, 
and Jose Iturbi, respectively. A student. Vera ResnikofF, appeared in 
the Dell opera, and another student, Robert Topping, was soloist in 
the Beethoven Ninth Symphony conducted by Mr. Iturbi. "Our" Saul 
Caston was ballet conductor for the Robin Hood Dell season. 

William Harms, pianist, appeared with Mr. Iturbi in the Lewisohn 
Stadium as soloist in the Liszt E flat Concerto. Edwina Eustis sang the 




After a rehearsal 

IRRA PETINA— in Montevideo 

Summer of 1936 



{11} 



OVERTONES 



title role in Carmen in the Stadium under Mr. Smallens. 

Mr. Harry Kaufman did some private teaching at his home in 
Westport, Connecticut, and made several appearances with the Gordon 
String Quartet and as a member of the newly formed Bolognini-Britt- 
Kaufman Trio. 

In Rockport and Camden, Maine, there has grown a sizable non- 
official Curtis Institute summer colony. The summer homes of Mrs. 
Bok, the Hofmanns, Mr. and Mrs. John Braun, and Carlos Salzedo 
and Lucile Lawrence perhaps have been responsible. A cottage on the 
rocky cliffs of Rockport harbor annually has Madame Lea Luboshutz 
as its tenant, and the Felix Salmonds each summer occupy "The Stone 
House' ' but a short distance below. The Curtis String Quartet is usually 
to be found somewhere in the vicinity, Madame Isabelle Vengerova, 
Boris Goldovsky and his wife, Margaret Codd, Shura Cherkassky, 
Nadia Reisenberg, and William Harms are frequently to be seen, and 
a whole flock of harpists annually surrounds the Salzedos. 

The Return of the ''Natives^' 

The artists in the community, both Curtis and non-Curtis, united 
in staging a welcome-home celebration in honor of Mrs. Bok, and Dr. 
and Mrs. Hofmann, after their return from their respective travels at 
opposite ends of the glode. This was a colorful affair, done with a 
professional touch, the versatile celebrators presenting entertainment 
in a metier one would have supposed was entirely foreign to their tal- 
ents. For example: the solo Spanish dancer was recognized as Madame 
Lea Luboshutz, the warbler of Cockney songs was seen to be Mr. 
Felix Salmond, and the sonorous Russian choir was composed entirely 
of instrumentalists, presumably more at home with strings and bows. 

Naturally, in the Rockport-Camden community, music abounds. 
Madame Luboshutz, Mr. Salmond, and Mr. Goldovsky on numerous 
occasions have played as a trio, and did this year in the Camden Opera 
House, with Nadia Reisenberg appearing in the same program. Shura 
Cherkassky appeared in the Camden Opera House and also in the 
Rockport Town Hall. The Curtis String Quartet gave three concerts 
in Captain Eells's alluringly atmospherical "boat barn," in Rockport, 
assisted in one program by Mrs. Braun. 

And thus, in summer, we relax! 



{ 28 } 



K^an^Li^a (^veitt 



The Curtis String Quartet will have Dr. Josef Hofmann and Mr. 
Felix Salmond as guest artists in concerts to be given this winter and 
spring. One of these, in which Dr. Hofmann will play the Brahms 
piano quintet, will be given in Town Hall, New York City, for the 
Beethoven Association, April 12th. The first of these concerts, with 
Mr. Salmond playing the Schubert quintet, takes place at the Washing- 
ton Irving High School, New York City, January 22nd. Other concerts, 
with Dr. Hofmann and Mr. Salmond, will be given in Philadelphia. 

Samuel Barber's Symphony will be given its American premiere 
by Dr. Artur Rodzinski in Cleveland, with the Cleveland Symphony 
Orchestra, in January. Dr. Rodzinski will also perform the Symphony 
in New York with the Philharmonic. 

jEANNEBEHREND,pianistandcomposer,will give a recital inCarnegie 
Hall, New York City, February 1st, in which she will play her Sonata. 

EuDicE Shapiro, violinist, will make her professional debut in 
Town Hall, New York City, on Wednesday afternoon, February 3rd. 

Lucie Stern, pianist, will give a recital in Town Hall, New York 
City, on Monday afternoon, February 15th. 

Alexander McCurdy, organist, is touring the south in January 
and will go to Texas and the Pacific coast on tour in the spring. 

Carl Weinrich, organist, has announced a transcontinental tour 
in January and February. 

Agnes Davis, soprano, is booked for two tours, her own, and a tour 
with Charles Hackett, with whom she appeared in joint recitals a 
year ago. She has been engaged by the Philadelphia Orchestra to sing 
the soprano solo part in Rachmaninoff's orchestral and choral work, 
The Bells, which is to be given in January in New York, Philadelphia, 
Washington, and Baltimore, under Eugene Ormandy, and for the per- 
formances of Beethoven's Ninth Symphony in March, also under Mr. 
Ormandy; and by the New York Philharmonic for the soprano part 
in a performance of Honegger's King David with Dr. Artur Rodzinski. 

{ 29 > 



OVERTONES 



Nadia Reisenberg, pianist, sails in January for Europe and will 
tour Austria, Hungary, Czecho-Slovakia, Poland, Sweden, Finland, 
and England. 

Genia Robinor, pianist, will tour Europe with her former instructor 
in chamber music at The Curtis Institute, Dr. Louis Bailly, giving a 
series of sonata recitals. In London, these artists will appear three 
times. Miss Robinor giving a piano recital, Dr. Bailly a viola recital, 
and the two collaborating in a piano-viola recital. Miss Robinor and 
Dr. Bailly also will give a joint recital in Town Hall, New York City, 
on March 23rd. 

IsoBriselli, violinist,, will be soloist with the Philadelphia Orchestra 
under Mr. Eugene Ormandy on January 22nd and 23rd, playing the 
Beethoven Concerto. 

The Curtis Symphony Orchestra has been engaged to accompany 
the Philadelphia Ballet in two performances of Tschaikowsky's The 
Sleeping Princess in the Academy of Music, Philadelphia, on February 
8th and 12th. The performance on February 8th, which is for the 
Philadelphia Forum, will be the American premiere of the ballet. 
Boris Goldovsky will conduct both performances. Catherine Littlefield 
is the premiere danseuse of the ballet company, formerly known by her 
name. 

Two students, Fritz Krueger, tenor, and Ellwood Hawkins, bar- 
itone, will be soloists with the Philadelphia Orchestra in the per- 
formances of Rachmaninoff's The Bells with Mr. Ormandy in January. 

Three students, Elsie MacFarlane, contralto, Fritz Krueger, tenor, 
and Ellwood Hawkins, baritone, have been engaged by the Philadelphia 
Orchestra to sing solo parts in performances of Beethoven's Ninth 
Symphony with Mr. Ormandy in March. 

Ezra Rachlin, pianist (student), is to give a recital on February 7th 
at the Washington Irving High School, New York City, one of the 
annual series of concerts sponsored by that school. 



GiAN Carlo Menotti's opera Amelia al Ballo is to be produced. 
Amelia is the first opera to be composed by a Curtis Institute graduate. 

{ 30 > 



OVERTONES 



It is an opera huff a in one act, music 
and libretto both by Mr. Menotti. 
The premiere will take place in the 
Academy of Music, Philadelphia, 
April 1, 1937. Mr. Fritz Reiner 
will conduct. The Curtis Institute 
is presenting this production. Pre- 
ceding Amelia will be a perform- 
ance of Milhaud's he Pauvre Mate- 
lot, also a presentation of The 
Curtis Institute. Both operas will 
be given in English. 



The Curtis Institute has sched- 
uled two concerts of chamber mu- 
sic under Dr. Louis Bailly, the 
first to be given in the Philadel- 
phia Museum of Art, Fairmount, 
Philadelphia, on Sunday evening, 
April 18th, the other to be given 
in Town Hall, New York City, on 
April 26th. 




CI AN CARLO MENOTTI 
at the Jijgerhaus in St. Wolfgang 
Summer of 1936 



Mrs. Mary Louise Curtis Bok, founder and President of The Curtis 
Institute of Music, has accepted an appointment as Trustee of Colby 
College, Waterville, Maine. 



{31> 



c^tadent <=^cttvuce^ 



Casimir Hall 

THREE of Madame Lea Luboshutz's students in violin gave a concert 
in Casimir Hall on Monday evening, November 23rd. Norman 
Serken opened the program, playing Sonata No. 1, in A major, of Georg 
Friedrich Handel. Ralph SchaefFer then played Ernest Chausson's 
Poeme, after which Rafael Druian, one of the younger students of the 
school, performed Edward Elgar's Concerto in B minor, Opus 61. The 
concluding portion of the program consisted of three shorter works — 
The Dew is Sparkling (Rubinstein-Elman), Danse Espagnole from La Vida 
Breve (deFalla-Kreisler), and Perpetiium Mobile (Ottokar Novacek) — 
played by Ralph SchaefFer. Eugene Helmer, graduate in accompanying 
under Mr. Harry Kaufman, was at the piano for the entire program. 

Kadio 

The annual series of concerts broadcast on Wednesday afternoons 
at four o'clock (Eastern Standard Time) by students over the CBS 
network, from Casimir Hall, opened with a concert by the Curtis 
Symphony Orchestra, Fritz Reiner conductor, on October 14th. With 
Mr. Reiner conducting, the Orchestra played the Overture to Weber's 
Der Freisch'utzj three Slavonic Dances of Dvorak (Opus 46, No. 6, in D; 
Opus 72, No. 2, in E minor; Opus 46, No. 8, in G minor); Canzonefta, 
Opus 62a, and Marche from Karelia Suite — Sibelius; and five Russian 
Dances of A. Tscherepnin. 

On October 21st, Marjorie Call, student of harp with Dr. Carlos 
Salzedo, opened the broadcast with Grandjany's fantaisies on French 
folk songs Le bon petit rot d'Yvetot and Et ron ron ron, petit patapon, 
followed by Debussy's Lafille aux cheveux de lin, Palmgren's May Night, 
and her teacher's On Donkey-Back, Pirouetting Music Box, Night Breeze, 
and Behind the Barracks, from his Short Stories in Music. These works 
are all for harp alone. A group of vocal solos followed, sung by Char- 

{32> 



OVERTONES 



lotte Ridley, soprano, graduate under Miss Harriet van Emden. Miss 
Ridley's songs were: Carpenter's The Sleep that Flits on Baby's Eyes 
and When I Bring to You Color d Toys, and Marx's Selige Nacht and Hat 
dich die Liebe heriihrt. Leonard Rose, student of violoncello with Mr. 
Felix Salmond, concluded the program with the Adagio from Haydn's 
Concerto in D, the Interme'i^o from Lalo's Concerto in D, and Cassado's 
Kequiebros. Ralph Berkowitz, graduate in accompanying under Mr. 
Harry Kaufman, played accompaniments for the voice and 'cello solos. 

Graduates occasionally perform as "guests" in the Curtis Institute 
radio "hour." The October 28th concert brought one to the air, Oskar 
Shumsky, violinist. The program opened with the aria Celeste Aida 
from Verdi's opera Aida, sung by Fritz Krueger, student of voice with 
Mr. Emilio de Gogorza. Mr. Shumsky, who studied with the late 
Professor Leopold Auer and Mr. Efrem Zimbalist, graduating under 
the latter, then performed the Sonata in D major of Vivaldi-Respighi. 
Returning to the microphone, Mr. Krueger continued the program 
with Schubert's An die Leier and Nacht und Trdume, Schumann's Wander- 
lied, the old English song Drink to Me Only With Thine Eyes, arranged 
by Quilter, GrifFes's Lament of Ian the Proud, and Clouds by Charles. 
Mr. Shumsky concluded the concert, playing the Adagio of Friedmann 
Bach-Kreisler, Debussy's En bateau, Elgar's La capricieuse. Opus 17, 
and L'Alouette — Glinka-Balakireff-Auer. Ethel Evans was accompanist 
for Mr. Shumsky, Oscar Eiermann for Mr. Krueger. Miss Evans and 
Mr. Eiermann are students of accompanying with Mr. Harry Kaufman. 

The program November 4th was for piano and voice solos. Ezra 
Rachlin, student of piano with Mr. David Saperton, played for his 
first group Etudes and Preludes of Chopin — the Etudes in G flat major, 
Opus 10, No. 5; in F minor; and in G flat major, Opus 25, No. 9; and 
Preludes No. 2, in A minor. No. 14, in E flat minor. No. 23, in F major, 
and No. 24, in D minor. Opus 28. Selma Amansky, soprano, graduate 
under Miss Harriet van Emden, sang the Kitorna vincitor aria from 
Aida, Cimara's Non piu, and Tirindelli's Portami via, after which Mr. 
Rachlin's second group was heard. This consisted of Rachmaninoff's 
Prelude in G sharp minor. Opus 32, No. 12; deFalla's Andalu^a, Godow- 
sky's Nocturnal Tangier, and Dohnanyi's Capriccio, Opus 28, No. 6. 
Miss Amansky concluded the program with Wagner's Trdume, Weaver's 



03> 



OVERTONES 



Moon-Marketing, Chasins's Dreams, and Hageman's At the Well. Eugene 
Helmer, graduate under Mr. Harry Kaufman, was accompanist for 
Miss Amansky. 

November 11th brought the Curtis Symphony Orchestra, Fritz 
Reiner, conductor, again to the air. The program consisted of Gold- 
mark's Im Fruhling Overture, an excerpt from Tannh'auser, Act II — the 
Dich, teure Halle aria, Selma Amansky soloist — and Mozart's "Jupiter" 
Symphony. Boris Goldovsky, graduate and assistant to Mr. Reiner, 
conducted. 

Eudice Shapiro, violinist, graduate under Mr. Efrem Zimbalist, 
was "guest" on November 18th. She played the first movement from 
Dohnanyi's Sonata, Opus 21, and the prayer ^'Vouchsafe Lord" from 
Handel's Te Deum, the Kreisler transcription ofGodowsky's Nocturnal 
Tangier, and a Caprice after one of Saint Saens's Etudes, in the form of a 
waltz, by Eugene Ysaye. Miss Shapiro was accompanied at the piano 
by Ethel Evans, pupil of Mr. Kaufman. Elsie MacFarlane, contralto, 
pupil of Miss Harriet van Emden, also was heard in this program, 
singing as her first group five songs of Johannes Brahms : Liebestreu, 
Bei dir sind meine Gedanken, Sapphische Ode, Me in wundes Herz verlangt, 
and Der Schmied; and turning to French and English for her final num- 
bers: Extase (Duparc), Quel galant (Ravel), By a Lonely Forest Pathway 
(Charles GrifFes), and an adaptation of an old Norwegian folk song 
My Lover he comes on the Skee (Henry Clough-Leighter), the last two 
songs being works of American composers. Oscar Eiermann was accom- 
panist for Miss MacFarlane. 

The November 25th broadcast was a program by the chamber 
music department under the artistic direction of Dr. Louis Bailly. 
The Casimir Quartet, composed of Eudice Shapiro and David Frisina, 
violins, Virginia Majewski, viola, and Leonard Rose, 'cello, per- 
formed the Haydn Quartette, Opus 76, No. 5, and the '' Aserbaidjan' 
Quartette (No. 4) of the Soviet composer B. Karagitcheff. Suite No. 1 
of J. Engel, also of Soviet Russia, was played as the concluding gfoup 
by a chamber music ensemble conducted by Dr. Bailly. The arrange- 
ment for strings and clarinet by S. Beilsson was used. This Suite con- 
sists of six parts entitled Melody, Lullaby of Love, Zockl (a dance), 
Melody of Marriage, Skotschne (a dance), and Plaska (also a dance). The 



•{ 34) 



OVERTONES 



students making up the ensemble were Abe Portnoy, clarinet, Eugene 
Csircsu, Julius Schulman, David Frisina, and Edward Matyi, violins, 
Virginia Majewski and David Schwartz, violas, Paul Bergstrom and 
Robert Zapf, 'celli, and Lewis Knowles, double-bass. 

The following week, on December 2nd, the Curtis Symphony 
Orchestra broadcast. The concert was conducted by Mr. Fritz Reiner, 
returned from the Pacific coast. Eudice Shapiro, graduate violinist, 
and Leonard Rose, student 'cellist with Mr. Felix Salmond, were solo- 
ists, playing the first movement from the Brahms Concerto in A minor, 
Opus 102, with the Orchestra. The concert opened with Bach's Toccata 
and Fugue in D minor transcribed by Leonardi. The concluding number 
was William Turner Walton's Fagade. 

On December 9th Jorge Bolet, pianist, was "guest" in the Curtis 
Institute "hour." The program featured works of Franz Liszt, com- 
memorating the one hundred and twenty-fifth anniversary of the pianist- 
composer's birth and the fiftieth anniversary of his death. Mr. Bolet, 
who is a graduate in piano under Mr. David Saperton, opened the 
concert with Liszt's Fantasie and Fugue in G minor on a Bach Chorale. 
Barbara Thorne, soprano, pupil of Miss Harriet van Emden, then sang 
Es muss ein Wunderbares sein, Du hist ivie eine Blume, and Die Lorelei, 
with Ethel Evans, pupil of Mr. Harry Kaufman, at the piano. Return- 
ing to the piano, Mr. Bolet played the Liebestratim, Waldesrauschen, 
Valse impromptu, and La Campanella, which brought the concert to a 
conclusion. 

Students of Dr. Louis Bailly in chamber music gave the concert 
of December 16th. Mozart's Quintet in A major for clarinet and string 
quartet was played by Abe Portnoy, clarinet, Julius Schulman and 
Rafael Druian, violins, Samuel Singer, viola, and Herman Grosser, 
violoncello; and the Scherbo and Finale of Mendelssohn's Piano Trio, 
Opus 49, was played by Annette Elkanova, piano, Frederick Vogelge- 
sang, violin, and Leonard Rose, violoncello. 

The December 23rd concert was a Christmas program, featuring the 
organ and voice departments. Richard Purvis, organist, pupil of Dr. 
Alexander McCurdy, opened the program with the Bach Chorale 
Preludes In Dulci Jubilo and Christians Rejoice, and Dupre's In Dulci 
Jubilo and the Finale from Variations sur un Noel. A mixed chorus then 



05> 



OVERTONES 



sang two carols (Old Welsh and Russian), Hoist's Christmas Day, 
Leopold Stokowski's When Christ ivas Born, and a Gascon carol Infant 
so Gentle. Frances McCollin's Sleep, Holy Babe, soprano solo, was sung 
by Barbara Thorne, student with Miss Harriet van Emden. Another 
group by the chorus followed : While Shepherds Watched Their Flocks 
by Night (Old English), From Highest Heaven to Earth We Come (Old 
German), Jewell's Would I had been a Shepherd and tender Babe Jesus, 
At Midnight a Summons Came (Old French) and Little Jesu of Broga (Old 
Portuguese). Some of these were sung acapella, some with organ and 
string ensemble accompaniment. At the close of the program, Mr. 
Purvis played an improvisation on three carols: Silent Night, Hark! the 
Herald Angels Sing, and Adeste Fidel is. Mr. Sylvan Levin conducted 
the chorus. 

The radio "signature" played at each of these concerts is Dr. Josef 
Hofmann's Berceuse, Opus 20, No. 5- It is the custom for graduates to 
play the signature, and thus far William Harms and Joseph Levine, 
graduates under Dr. Hofmann, have supplied the musical identification 
of the Curtis Institute hour. 

Concert Course 

The Concert Course consists of a series of concerts, by students ap- 
pearing as soloists and in various group formations, given for a list 
of schools, colleges, woman's clubs, and various other organizations 
lying within a practicable distance of Philadelphia. In general, stu- 
dents appear for small fees. Occasionally a graduate is sent out that 
he may obtain additional practical experience looking toward an 
important engagement. 

At the beginning of the present school year, thirty concerts were 
booked, to be given between the first of October and the end of May. 
The course includes, this year, a series of musicales at The Barclay 
(Philadelphia), organized by a group of women music lovers. 



{ 36 > 



OVERTONES 



The Concert Course schedule, up to the Christmas holidays, follows 
October 6, 1936— for the Woman's Club, Penns Grove, New Jersey 
Kurt Polnarioff, violinist 
Oscar Eiermann, accompanist 

October 7, 1936 — for "The Neighbors," Hatboro, Pennsylvania 
lEudice Shapiro, violinist 
Jane Shoaf, soprano 
Joseph Levine, pianist 

October 17, 1936— at Westtown School, Westtown, Pennsylvania 
Annette Elkanova, pianist 
^Leonard Treash, bass-baritone 

Kurt Polnarioff, violinist 
Oscar Eiermann, accompanist 

October 27, 1936 — for the Woman's Club, Chester, Pennsylvania 

^Trio Classique 

Eudice Shapiro, violin 

Virginia Majewski, viola 

Ardelle Hookins, flute 

October 31, 1936 — at ^Juniata College, Huntingdon, Pennsylvania 
Marjorie Call, harpist 
Reinhardt Elster, harpist 
Leonard Rose, violoncellist 

November 6, 1936 — at Westtown School, Westtown, Pennsylvania 
lEudice Shapiro, violinist 
Ethel Evans, accompanist 

November 9, 1936 — for the Mary Gaston Barnwell Foundation 
at the Penn Athletic Club, Philadelphia 
lEudice Shapiro, violinist 

Fritz Krueger, tenor 

Leonard Rose, violoncellist 

^Eugene Helmer, accompanist 



^Graduate. 

^Miss Shapiro, Miss Majewski, and Miss Hookins are graduates in their respective instruments. 
^Miss Call and Mr. Elster played music arranged for two harps, Mr. Rose played solos to harp accom- 
paniment by Mr. Elster, and Miss Call solos for harp alone. 

{37> 



OVERTONES 



November 10, 1936 — at State Teachers College, Kutztown, Pennsylvania 

^Violin — Violoncello — Piano Trio 

Frederick Vogelgesang, violin 

Leonard Rose, violoncello 

Annette Elkanova, piano 

Oscar Eiermann, accompanist 

November 13, 1936 — at the Friends' School, Media, Pennsylvania 

^Violin — Violoncello— Piano Trio 

Frederick Vogelgesang, violin 

Leonard Rose, violoncello 

Annette Elkanova, piano 

Oscar Eiermann, accompanist 

November 14, 1936 — at The Birmingham School, Birmingham, 

Pennsylvania 

^Violin — Violoncello — Piano Trio 

Frederick Vogelgesang, violin 

Leonard Rose, violoncello 

Sol Kaplan, piano 

November 16, 1936 — at The Barclay, Philadelphia 

Vogelgesang — Rose — Kaplan Trio 
for Violin, Violoncello and Piano 

November 19, 1936 — at the University of Delaware, Newark, Delaware 

Elsie MacFarlane, contralto 

Fritz Krueger, tenor 

^Eudice Shapiro, violinist 

Oscar Eiermann, accompanist 

November 19, 1936 — for the Everywoman's Club, Glenside, Pennsylvania 
Vogelgesang — Rose — Kaplan Trio 
for Violin, Violoncello and Piano 
Burnett Atkinson, flute 



*The trio performed as an ensemble and the members also performed as soloists in these programs. 
^The trio performed as an ensemble and the members also performed as soloists, Mr. Kaplan acting as 



accompanist. 
^Graduate. 



{ 38 > 



OVERTONES 



November 20, 1936 — for the Porch Club, Riverton, New Jersey 

''Opera Scenes 
Charlotte Daniels, soprano 

Jane Shoaf, soprano 

Elsie MacFarlane, contralto 

Fritz Krueger, tenor 

Leonard Treash, bass-baritone 

Elizabeth Westmoreland, accompanist 



November 23, 1936 — at ^Elizabethtown College, Elizabethtown, 

Pennsylvania 
Eudice Shapiro, violinist 
Leonard Treash, bass-baritone 
Joseph Levine, pianist 



November 30, 1936 — at The Barclay, Philadelphia 
Fritz Krueger, tenor 
Elizabeth Bentley, accompanist 



December 16, 1936 — for the Everywoman's Club, Glenside, Pennsylvania 
Reinhardt Elster, harpist 



December 21, 1936 — at The Barclay, Philadelphia 
Sidney Finkelstein, pianist 



December 28, 1936 — at The Barclay, Philadelphia 
Lester Englander, baritone 
^Richard Purvis, accompanist 



''This program, given in costume, with scenery, consisted of the "garden" scene from Act III of Faust 
(Gounod), performed by Miss Daniels (Marguerite), Miss Shoaf (SiebeF), Miss MacFarlane (jNiartha), Mr. 
Krueger (_Faust~), and Mr. Treash (Mephisto); the "spinning" scene at the farm house. Act II of Martha 
(Flotow), with Miss Shoaf as Martha, Miss Daniels as Nancy, Mr. Krueger as Lionel, and Mr. Treash as 
Plunkett; and the "fair" scene from The Bartered Bride (Smetana), in which Miss Daniels appeared as Marie 
and Mr. Krueger as Wenzel. Miss Daniels, Miss Westmoreland, and Mr. Treash arc graduates. Miss West- 
moreland a member of the faculty (vocal coach). 

^his program consisted of violin, bass-baritone, and piano solos, with Mr. Levine acting as accom- 
panist besides appearing in his own right as pianist. All three young artists are graduates. 

'Richard Purvis is a student of organ with Dr. McCurdy. On this occasion he accompanied Mr. Englander 
at the piano. 



{39> 



OVERTONES 



The Curtis Symphony Orchestra 

The Curtis Symphony Orchestra, Mr. Fritz Reiner, conductor, gave 
a concert at the Philadelphia Museum of Art, Fairmount, Philadelphia, 
on Sunday evening, December 20th. Eudice Shapiro, graduate violinist 
under Mr. Efrem Zimbalist, and Leonard Rose, student of violoncello 
with Mr. Felix Salmond, were soloists with the Orchestra. 

The Orchestra played from the center landing of the huge stairway 
in the Grand Court of the Museum, with the audience assembled on 
the main floor below and the balcony looping the vast hall. 

The program : 

Toccata and Fugue in D minor Bach-Leonardi 

Concerto for Violin, Violoncello 
and Orchestra, in A minor 

Opus 102 Johannes Brahms 

Eudice Shapiro Leonard Rose 

Facade William Turner Walton 

Overture to "Der Freischiitz" Carl Maria von Weber 

Fritz Reiner, Conductor 



The foregoing concerts have all been curricular activities; that is, 
these concerts were scheduled by The Curtis Institute as part of the 
students' courses. Students also have engaged in other "outside" 
professional activities. 

Ezra Rachlin, pianist, pupil of Mr. David Saperton, was guest 
artist with the Mendelssohn Choir of Pittsburgh, in Carnegie Hall, 
Pittsburgh, on November 24th. 

Phyllis Moss, pianist, pupil of Madame Isabelle Vengerova, ap- 
peared with the Civic Symphony Orchestra at Irvine Auditorium of 
the University of Pennsylvania on October 18th. She also was soloist 
with the Bamberger Symphony Orchestra in Newark, New Jersey, 
on November 26th. 

Marjorie Call and Reinhardt Elster, harpists, and Leonard Rose, 
'cellist, gave programs at the home of Miss Esther Hare, in Radnor, 
Pennsylvania, on October 28th, and at the home of Miss Elizabeth 
Chew, in Germantown, Philadelphia, on November 10th, 

{ 40 > 



OVERTONES 



Fritz Krueger, tenor, Oscar Eiermann, accompanist, and Zadel 
Skolofsky, pianist, gave a musicale at the home of Mrs. Charles G. 
Berwind, in Paoli, Pennsylvania, on October 28th. Mr. Krueger, and 
Barbara Thorne, with Mr. Eiermann as accompanist, gave a joint 
vocal recital at the Hotel Sylvania, Philadelphia, on December 9th. 

Miss Thorne and Leonard Rose gave a joint recital, accompanied 
by Mr. Eiermann, at the home of Mr. S. W. Taylor, in Chestnut Hill, 
Philadelphia, on November 12th. 

Fritz Krueger appeared in Painesville, Ohio, on December 11th, 
for the Woman's Club. 

Charlotte Ridley, soprano, and Ralph Schaeffer, violinist, gave a 
joint recital at the home of Mrs. Charles Sinnickson, Rosemont, Penn- 
sylvania, on November 19th. Their accompanist was Julian Goodstein. 

Sol Kaplan, pianist, and Frederick Vogelgesang, violinist, played 
at the home of Mrs. Henry Place, Wayne, Pennsylvania, on November 
24th. Mr. Kaplan and Miss Thorne appeared with Rafael Druian, 
violinist, at the Kenilworth Apartments, Germantown, Philadelphia, 
on December 8th. 

Eudice Shapiro, violinist (graduate), Leonard Rose, 'cellist, and 
Richard Goodman, pianist, presented a program at the home of Mrs. 
Henry Farnum in Bryn Mawr, Pennsylvania, on December 2nd. 

Sidney Finkelstein, pianist, gave a program at the home of Mrs. 
J. R. McAllister, in Chestnut Hill, Philadelphia, on December 10th. 

Sol Kaplan, pianist, played a program at the home of Mrs. Charles 
G. Berwind, in Paoli, Pennsylvania, on December 27th. 

Annette Elkanova, pianist, pupil of Madame Isabelle Vengerova, 
and Rafael Druian, violinist, pupil of Madame Lea Luboshutz, gave 
a joint recital at the Y. M. and Y. W. H. A., Philadelphia, on Novem- 
ber 12th, this being one of the Youth Recital Series. 

Five students assisted in the performance of Felix Mendelssohn- 
Bartholody's oratorio Elijah on Sunday afternoons in October by Dr. 
Alexander McCurdy and his chorus choir at the Second Presbyterian 
Church, Philadelphia. The students were Lester Englander, baritone, 
and William Home, tenor, pupils of Mr. Emilio de Gogorza, who sang 
the solo parts of Elijah and Obadiah; Elsie MacFarlane, contralto, 
pupil of Miss Harriet van Emden, who sang the parts of the Angel 



{41> 



OVERTONES 



and Jezehel; Barbara Thorne, soprano, also a pupil of Miss van Emden, 
who sang the part of the Widow; and Walter Baker, pupil of Dr. 
McCurdy and assistant organist at the church, who was at the organ. 

Miss Thorne, Miss MacFarlane, and Mr. Home were soloists at 
the Second Presbyterian Church, and Mr. Baker was at the organ, 
for a performance of Mozart's Kequiem with the choir and an orchestra 
drawn from the Curtis Symphony Orchestra, on Sunday afternoon, 
November 1st, Dr. McCurdy conducting. 

Miss Thorne, Miss MacFarlane, and Fritz Krueger, tenor, pupil 
of Mr. de Gogorza, were soloists in Cesar Franck's Mass in A given 
at the Second Presbyterian Church on Sunday afternoon, November 
15th, with a harp ensemble, and strings from the Curtis Symphony 
Orchestra. Three of the harpists were Curtis Institute folk: Marjorie 
Tyre, graduate and member of the Philadelphia Orchestra, Flora Bruce 
Greenwood, graduate, and Reinhardt Elster, pupil of Dr. Carlos^alzedo. 
Walter Baker was at the organ, and Dr. McCurdy conducted. 

Miss Thorne and Miss MacFarlane were soloists again at the Second 
Presbyterian Church on Sunday afternoon, December 13th, in a per- 
formance of Bach's Magnificat, with the chorus choir. Dr. McCurdy 
conducting. For this performance. Dr. McCurdy put two people at 
the organ: that is, one organist, Claribel Gegenheimer, played upon 
the organ proper, and a second organist, Richard Purvis, played upon 
an "offset" console, being in fact a fifth manual. A harpsichord piano 
was used also, this part being played by Walter Baker. Miss Gegen- 
heimer and Mr. Purvis are students under Dr. McCurdy at The Curtis 
Institute. 

Charlotte Ridley, soprano, graduate, Miss MacFarlane, Miss 
Thorne, and Mr. Englander were soloists in Walter Baker's performance 
of Elijah at the First Baptist Church, Philadelphia, given in two parts 
on November 22nd and 29th. 

And now we come to the activities of organists. 

The Organ Department 

Every student of The Curtis Institute's organ department has a 
position; that is, an organ and a choir of his own. They are, all of 
them, active in their profession, even while studying. 

{41} 




ALEXANDER McCURDY. Mus. D. 
instructor of Organ at The Curtis Institute 



OVERTONES 



Walter Baker already has acquired a reputation in Philadelphia. 
At the First Baptist Church he has mapped out for this season a pro- 
gram of oratorio presentations on twelve Sunday evenings, of Men- 
delssohn's Hymn of Praise and Elijah, Saint-Saens's "Christmas" 
Oratorio, Brahms's Kequiem, Franck's M.issaSolemnis, Rossini's Stahat 
Mater, Dubois's "The Seven Last Words of Christ," Bach's "Refor- 
mation" cantata, Ein Feste Burg, and a complete performance, without 
cuts, of Handel's The Messiah. He also is planning to give three organ 
recitals at his church in February. Besides his work at his own church, 
Mr. Baker assists Dr. McCurdy in the Sunday afternoon services at 
the Second Presbyterian Church, Philadelphia. Mr. Baker also has 
been engaged to play the organ for the Delaware County Bach Society's 
performances of The Messiah at St. James's Church, Philadelphia, and 
in Reading, Pennsylvania. 

Richard Purvis is organist and choirmaster of the Tioga Methodist 
Church, Philadelphia. Claribel Gegenheimer is organist and choir 
director at St. Paul's Lutheran Church in Collingswood, New Jersey. 
Henry Beard is organist and choirmaster at the Second Baptist Church, 
Germantown, Philadelphia. Nancy Poore is organist and choir director 
at the Northminster Presbyterian Church, Philadelphia, where part 
of her duties consists of playing a set of electrical chimes. And, the 
youngest student of the department, Elmer Cooke, who is but seven- 
teen, has the organ and choir of St. Stephen's Protestant Episcopal 
Church, in North Philadelphia. All of these students are in complete 
charge of music at their respective churches. 

Another student, Richard Fairchild, is organist at the Hill School, 
Pottstown, Pennsylvania. There he plays the organ for chapel services 
and conducts the choir and the glee club and also a band. 

We have called the roll of the organ department. Each student has 
answered to his name with a statement of his job! 



{44> 



C^aCLal <=:^ctiVUL 



ivUie^ 



A tea was given on Sunday afternoon, October 11th, at The Curtis 
Institute, that new students might meet the President, the Director, 
and members of the faculty and staff. 

The Christmas Party 

The annual Christmas party was given on the evening of Monday, 
December 21st. The Common Room was beautifully decorated, as 
always, for the occasion, and in one corner stood a glowing Christmas 
tree. Around the tree, as is their custom, a group of students sang 
Christmas carols. 

There was dancing to a jazz orchestra, and on this occasion the 
students chose to appear as characters of the circus, their gay costumes 
making a colorful scene. 

Motion pictures showing everybody of The Curtis Institute at his 
customary tasks, from the President down, greatly interested all. 
Photography by students. 

Mrs. Bok, Dr. Hofmann, and members of the faculty were present, 
besides students and members of the staff. 

And a very special guest was Santa Claus, delighting all, in the 
person of Anton Hofmann, eleven-year-old son of our Director, home 
from his own school for the holidays. 



{45 > 



SHOWING THAT ARTISTS DO NOT LIVE BY MUSIC ALONE 




A comer in the cafeteria of The Curtis Institute, 

where faculty, staff, and students mingle fraternally 

day by day 



J-ke J Vcw u<^eca'cJiLna .=^/jepa'ctn^ettt 



O wad some Power the giftie gie us 

To see oursel's as ithers see us! 

It wad frae monie a blunder free us, 

An' foolish notion: 
What airs in dress an' gait wad lea'e us, 

An' ev'n devotion! 

Robert Burns 



IF we were to paraphrase the second line of this famous verse of Burns ' s 
poem so that it read "To hear oursel's as ithers hear us," we should 
have a concise but beautiful expression of the fundamental idea that 
doubtless was back of the installation of recording equipment at the 
beginning of our 1936-37 school year. 

* Recording is a new departure for The Curtis Institute. It offers 
another and excellent method of study, which our Director, Dr. Josef 
Hofmann, has made available to the students. 

Since the inception of radio and sound films, there have been many 
developments in the simplification and standardization of recording 
on discs. Our equipment is used principally for recording the weekly 
broadcasts and making records of the students' singing and playing. 

The recording department occupies two rooms on an upper floor of 
the building known familiarly to us as "17x0." The equipment was 
installed under the supervision of Dr. Gabriel M. Giannini, de- 
signer of dampers for the Riverside Carillon, New York, who has 
been of great service to us in technical radio and phonograph matters. 
The set-up is very complete, and consists of cutting device, turntables 
for recording and playing records, a radio, amplification units, loud- 
speakers, and a microphone, the last for recording in the studio adjoin- 
ing the control room. There is also a direct cable to Casimir Hall in 

< 47 > 



OVERTONES 



order that the weekly broadcasts may be recorded directly, without 
radio interference. 

With this equipment, it is possible to make records of the students' 
work from the studio, to record the broadcasts either directly from 
Casimir Hall or from the radio, and to make copies of records. The 
discs are capable of being played immediately, requiring no hardening 
or baking. By using an oversize disc when recording, and having this 
electroplated, it is possible to make any number of pressings from the 
master disc. On an electric phonograph with a featherweight ' 'pickup' ' 
the discs may be played up to fifty times without appreciable loss of 
quality. 

The turntables are adapted to play standard records of any make, 
enabling the students to take advantage of the large library of these 
owned by the school, comparing the renditions of famous works by 
master artists. 

For the forty-five minutes of the weekly broadcast, while the pro- 
gram is on the air, the students are keyed up to a point where they 
must give their best. There may be no stopping, as in practice, to do 
over again a faulty phrase or passage, for they must keep on without 
pause, and also without the psychological effect of audience reaction, 
until the program is completed. Here are conditions they will face 
thruout their careers of concert and radio performance. A recording of 
their work during these critical moments of our broadcasts is a positive 
revelation to the students. Even disillusionment is constructive. 

To a lesser degree their work in the recording studio has the same 
benefits. Here they may try out their future programs and accustom 
themselves, in private, to radio station technique in the use of the 
microphone, learning to project themselves thru the medium of this 
somewhat recalcitrant instrument. 

Altho we have still a few technical difficulties to be ironed out, 
such as the matter of acoustics in the recording studio, the equipment 
already is enabling students to be their own worst critics. It is hoped 
that the recording of their performances will, to paraphrase Burns 
again, "... frae monie a blunder free them, An' foolish notion." 

GORDON MAPES 



{ 48 } 



OVERTONES 



MAY 1937 



THE 

CURTIS INSTITUTE 

OF MUSIC 



OVERTONES 



PUBLISHED BY 



THE CURTIS INSTITUTE of MUSIC 

RITTENHOUSE SQUARE 
PHILADELPHIA • PENNSYLVANIA 



Vol. VII— No. II May 1937 

OVERTONES 

ELSIE HUTT, Editor 

Contents 



ARTICLES 



PAGE 



Josef Hofmann (poem) W. J. Henderson 55 

Gian Carlo Menotti and "Amelia" 57 

Mrs. Bok Honored 63 

The Curtis Institute Pays Tribute to Samuel Barber 65 

The Romance of 'Cello 72 Louis Bailly, Mus.D. 67 

Concerning the Faculty 69 

In Cleveland 72 

We Note That (News of Graduates) 76 

Some Additions to the Organ in Casimir Hall Alexander McCurdy, Mus.D. 78 

Opera Premieres 81 

Special Events 83 

Commencement 84 

Student Activities 85 

Library Notes 95 

ILLUSTRATIONS 

Josef Hofmann, Mus.D 52 

Josef Hofmann Makes American Debut 54 

"Amelia" 56 

Gian Carlo Menotti 59 

Stage Setting for "Amelia" 62 

Samuel Barber 64 

"Alumnae" in Cleveland 72 

Boris Goldovsky 73 

Rose Bampton 74 

Shura Cherkassky 74 

Nadia Reisenberg 75 

Joseph Levine 75 

Genia Robinor 75 

Fritz Reiner and Gian Carlo Menotti 82 

Oskar Shumsky 92 

Permission is granted to reproduce parts of this magazine provided due acknowledgment is made to Ovirtmii. Copyright 1937 by The Curtis 
Institute of Music. Printed in the United States of America. 



{51> 



I88J 



FIFTY YEARS A CONCERT PIANIST 

IN THE UNITED STATES 



1931 




JOSEF HOFMANN, Mus.D, 



{51} 



O/it ^^=UJLtecta'c 



On November 28, 1937, Dr. Josef Hofmann will 
mark the fiftieth anniversary of his first appearance 
in America with a concert at the Metropolitan Opera 
House, New York City, where he made his debut 
in 1887. His Golden Jubilee tour in the United States 
and Canada will carry him from coast to coast. 

Dr. Hofmann also will celebrate his Golden 
Jubilee in Europe with recitals in October in Queens 
Hall, London, and other cities, all approximately 
fifty years after his first appearances. 



{53> 




JOSEF UOFMANN MAKES AMERICAN DEBUT 
at the Metropolitan Opera House 

"The occasion proved something to be remembered and talked over for the rest 
of one's life." New York Herald, November 30, 1887. 



{ 54 > 



OVERTONES 



JOSEF HOFMANN 

"With gravest lips and innocent sweet eyes. 
And smile made pure by deep emotions cast. 

With childlike wisdom, more than ivorldly wise. 
Thou br ingest messages from out the past. 

* ' The mighty spirits of the sons of song. 

To thee reveal the tones they could not write. 

When fancies came tn ovenvhelming throng; 
Thou km we St then, boy; thine is the light. 

"Two little hands, a child' s imperfect hands. 
Make new for us the dead dreams once again; 

From dusk to dawn, through all the listening lands. 
Those little hands are on the hearts of men.^' 

W. J. HENDERSON 

The New York Times, Sunday, December 4, 1887 (editorial page) 



{55> 




An Italian conception of "Amelia" 
by the young painter DARIO CECCHI 



{ 56 > 



\^Lan L^atia yl/Lenctti and <=::A-ntciLa 



GiAN Carlo Menotti was born in Cadigliano, Italy. He is the sixth 
of a musical family of ten children, and composed his first opera 
at the age of eleven. He came to the United States in 1928, carrying a 
letter of introduction from Mrs. Arturo Toscanini, and soon afterwards 
became a student of composition with Mr. Rosario Scalero at The 
Curtis Institute of Music. In 1931 Mr. Menotti's Variations on a theme 
of Schumann won for him the Carl F. Lauber prize for original musical 
composition. He finished his studies at The Curtis Institute in 1933 
and returned to Italy. 

Late in October of that year Mr. Menotti went with Samuel Barber 
to Vienna. One of the choicest memories of anyone at The Curtis 
Institute during the student days of Gian Carlo Menotti and Samuel 
Barber surely will be the friendship that developed between these two 
— but that is another story. And so is their winter in Vienna, except 
that "Amelia's" first nebulous beginnings crystallized there, and also 
that Mr. Menotti's Pastorale and Dance, for string orchestra and piano, 
had its premiere under the baton of — ^Samuel Barber! The Pastorale 
is Mr. Menotti's first composition in larger form. It has since been 
performed by a chamber orchestra and pianist conducted by Dr. Louis 
Bailly, at The Curtis Institute, and by the Philadelphia Simfonietta, 
Mr. Fabien Sevitzky conducting, playing in Philadelphia, with the 
composer at the piano. 

"Amelia" became a very real, very vivid person to her creator. The 
geographical background of her evolution shifted over Vienna, West 
Chester and the Pocono Mountains of Pennsylvania, the rocky coast 
of the Penobscot in Maine, New York City, the shores of Lugano, and 
St. Wolfgang in Austria, where in the autumn of 1936 the opera was 
finished. "I really hate", said Mr. Menotti then, "to put the word 
'End' to the score — it is just like saying good-bye to a dear old friend. ' ' 



^Forming and conducting a chamber orchestra that met once a week in his atelier was one of the winter's 
activities of Mr. Barber. 



<57> 



OVERTONES 



Mr. Menotti is responsible for the libretto as well as the music of 
the opera. The rhymed text is in Italian. The action is laid in Milan 
in the year 1900, and the scene is "Amelia's" boudoir. The sparkling 
little plot concerns the frantic preparations and determination of a 
sprightly and coquettish young Milanese lady, beset by hindrances on 
all sides, to go to a ball. "Amelia" nimbly hurdles one obstacle after 
another — a jealous husband threatening a shooting affray; a lover pro- 
posing an elopement; the dead calm of a philosophic discussion between 
husband and lover concerning "what is right and what is wrong"; 
the police investigating her own delicate shrieks for help after knock- 
ing her husband unconscious with a vase — and turns a seeming i?^passe, 
in which the ball appears farther off than ever, with her husband 
being hustled to a hospital and her lover to jail, into triumph, by 
going to the ball with the chief of police. 

We shall allow others to comment on the quality of "Amelia al 
Ballo". 

"Mr. Menotfi was his own librettist, and if the Italian script is anything as 
good as the English translation of George Mead he is destined to be another Boito. 
. . . The music ... is light, witty, extraordinarily skillful and, when required, 
passionate and melodious. Though Mr. Menotti shows that he knows his Wolf- 
Ferrari and his Verdi of 'Falstaff', the traces of his origins are very few. This is 
humorous music, contrived with amazing ingenuity by a virile, imaginative and 
sensitive artist. It mocks at modernistic music and saves its acidulous harmonies for 
moments that demand their use. In Mr. Menotti I believe we have at last a composer 
who utilizes the resources of music, both ancient and modern, for the sole purpose 
of illuminating action and expressing character. The lyric stage needs Mr. Menotti 
very much." Samuel Chotzinoff, in New York Post, April 12, 1937. 

Not content with his first observations, Mr. Chotzinoff wrote again 
in the New York Post of April 17th : 

"Almost with the first orchestral bars of 'Amelia al Ballo' one knew that one 
was in the presence of a genuine, new musical talent. The orchestra discoursed vital 
matters, vital, that is, because it shut out everything else, though the matters in 
themselves were thin as air. That, of course, is the one true way to deal with comedy, 
light or high, as it is the only true way of dealing with tragedy. Young Mr. Menotti 
was passionate about his absurd, witty, confused, farcical story, indeed about every 
word of it. He was writing his music from the inside looking out, and not the other 
way around, which is the common practice of pretentious and would-be artists. And, 
because he was doing that and was — which is equally important — a young, skilled 
and highly gifted musician, his score was like a tube of quicksilver as it raced up 



{ 58 > 




GIAN CARLO MENOTTI 
creator of "Amelia al Ballo" 



{ 59 > 



OVE RT O N E S 



and down, illuminating each word, each thought, and realized, tonally, hidden 
implications of irony, sophistry and all those vague antennae of human speech and 
gesture. Nor did this sparkling, naughty and capricious music exist in any indeter- 
minate period of time. It was music of the very present, though the scene was laid 
in the gay nineties in Milan, and the harmonies were not traceable to the Messrs. 
Stravinsky, Schoenberg and Milhaud. All the harmonies were simple or complicated 
at the inexorable behest of the idea or emotion of the moment. But they were always 
solid and rang true. Mr. Menotti can write cacophony as ably as the next man, and 
he does so pointedly, at a moment of his story, proving that the easy way is the 
modernist. Add to this musical and orchestral virtuosity a lyric vein, broad and deep 
and original, and you get the measure of the creative artist that Mr. Menotti is at 
the ripe age of twenty-five." 

"The libretto, written by the composer, showed humor and a knowledge of the 
construction of operatic comedy, while the music evinced a talent for opera buffa 
and a good understanding of the theatre. Solos for the lover and the husband and a 
trio for the three were well written and evoked deserved applause. The orchestration 
was all discreet and effective. It is very probable that Mr. Menotti will be heard 
from again." W. J. Henderson, in New York Sun, April 12, 1937. 

And Mr. Henderson also had more to say five days later: 
"Perhaps those who keep the doings of the operatic world in mind recognized 
in Mr. Menotti's overture certain stylistic resemblances to the music of Wolf-Ferrari. 
The composer of 'The Secret of Suzanne' is by no means a bad model for a writer of 
opera buffa. But let it be said without reservation that Mr. Menotti's overture was 
related to Wolf-Ferrari only in the general attributes of style. What the young com- 
poser had to say was entirely his own. He had his own thematic materials and his 
own manner of developing them. The opera itself showed above all other things a 
keen sense of the theatre. It had none of the baitings and stumblings of the musician 
who wishes to write for the stage, but does not know just how to go about it. This 
young man evidently has theatre in his blood. He has the natural instinct of the 
opera composer. His music never lagged for a moment. It bubbled and sparkled its 
way through to the end and its spirit was continually infectious. ... It is almost 
a certainty that we shall hear again from Mr. Menotti. Whether he will blossom 
out into a pretentious writer of grand operas is unpredictable. This music lover is 
inclined to hope that he will not. We need new operas, to be sure, but not necessarily 
tragic ones. In these cloudy days a youthful spirit ready to bestow upon the world 
gifts of gayety, to compose comedy operas full of vivacity and lively music, is a 
blessing with which we should not wish to part." New York Sun, April 17, 1937- 

"The music and the book, both in a vein of amusing satire, are both remarkably 
deft and mature work for a young man of twenty-five. The work is the most successful 
attempt to reproduce the vein of classic Italian opera buffa in a modern treatment 
that has been set forth here in a long time. In reproducing the general style of this 



{ 60 > 



OVERTONES 



genre of opera and doing so with notable lightness and sureness of touch the composer 
has not provided an imitation of Rossini or some earlier specialist in this form but 
has written a score distinctly his own. It wQuld be possible to name a few influences, 
but these have been merged in an individual and exceptionally effective style, suggest- 
ing the development of a technique and craftsmanship in writing for the lyric stage 
which should carry the composer far." F.D.P., New York Herald Tribune, April 12, 
1937. 

"His music has the style and glitter of the operatic composers of his native land. 
The turn of a phrase here and there bears the stamp of distinguished Italian forebears, 
but the essential vitality, ingenuity and laughter are the composer's own. Mr. Menotti 
knows how to toss off a shapely tune. He knows how to whip up tumultuous cli- 
maxes. He knows how to write for voice." H. Howard Taubman, in New York 
Times, April 12, 1937. 

'Amelia Goes to the Ball* made an overwhelming success, and established 
Menotti as an operatic talent already close to maturity, and of truly significant 
promise. This firstling work, saturated with melody, and highly sophisticated as 
to libretto, took the listeners completely by surprise — especially the present chroni- 
cler, who had not thought that there is a youthful composer today with sense and 
ability enough to side-step tragedy and conceive and create an opera bujfa of tradi- 
tional style but enriched with the resources of modern orchestration. Menotti's 
libretto is astonishingly good. . . . Menotti's music is in keeping with the comical 
tale, the score being light, and lyrical by turns, cleverly characterized and orches- 
trated with delicacy and deftness. Eminently singable and tuneful airs abound, and 
while some of them suggest Wolf-Ferrari and the early Puccini, for the most part 
they have original contour and charm. There is an overture of compelling vivacity 
and tunefulness, and a delightful trio stands out as a piece of unusually atmospheric 
writing." Leonard Liebling, in Musical Courier, April 10, 1937. 

"... a young composer who may yet become the white hope of opera . . . The 
Menotti work brought the audience to its feet, cheering . . . Stemming from Rossini, 
down to Verdi (of 'Falstaff') and Wolf-Ferrari, his music has the added sophistication 
and brilliance of these pulsating times. When a deeper note is sounded it is genuine, 
passionate, and melodic. The orchestration is masterly in its vivid realization of the 
wit and farcical humor of the tale. In fact, 'Amelia al Ballo' is the first new opera 
in many years that has the genuine creative spark." Marcia Davenport, in Stage, 
May 1937. 

These among a veritable flood of press criticisms. In addition to 
them, Mr. Menotti received many letters from musical acquaintances, 
some of whose names are to be conjured with, expressing highest 
praise. 



{ 61 > 



OVERTONES 



And now, having finished "Amelia" and seen it performed, Mr. 
Menotti has already begun his next opera. This will be a lyric sketch 
of that American institution, the woman's club. As the young com- 
poser calls his next opera tentatively "The Last Superman", doubtless 
some unfortunate male also is involved. The time and place will be 
the present and New York City. Following his procedure in "Amelia", 
Mr. Menotti is writing both the book and the music. 

He also has two other jobs on hand, a ballet score commissioned by 
Miss Catherine Littlefield, and an opera especially for radio, com- 
missioned by NBC. Our heartiest congratulations and eagerest antici- 
pations to Gian Carlo Menotti! 



WMm 













'1 







Donald Oens/ager's sketch for the setting of "Amelia al Ballo" 



{ 62 > 



At its annual dinner May 11th at the Waldorf- 
Astoria Hotel in New York City, the National Insti- 
tute of Social Sciences will confer the Institute's 
Gold Medal upon the founder and President of The 
Curtis Institute of Music, Mrs. Mary Bok, "in recog- 
nition of the distinguished service she has rendered 
in behalf of the musical life of America." The 
Honorable George Wharton Pepper of Philadelphia 
will make the presentation. 



{ 63 > 




SAMUEL BARBER 
will be the first Amertciin composer ever to he represented in the Snlzhur^ Fcsliviils 



{ 64 > 



AN event without precedent was staged by The Curtis Institute in 
Casimir Hall on the evening of Sunday, March 7th. This was a 
concert devoted to works of a graduate, Samuel Barber, the 'first all- 
Barber program to be given in a concert hall. Mr. Barber is the only 
graduate thus far to be so honored. 

The compositions performed were Serenade (for string quartet), 
composed in 1929, played by the Curtis String Quartet; Sonata for 
Violoncello and Piano, Opus 6, composed in 1932, played by Mr. Felix 
Salmond and Ralph Berkowitz ; two movements of a new String Quartet 
in B minor, hnished in the autumn of 1936, played by the Curtis String 
Quartet; the setting for voice and string quartet of Matthew Arnold's 
"Dover Beach", composed in 1931, sung and played by Miss Rose 
Bampton and the Curtis String Quartet; and the songs "Dance", "The 
Daisies", and "Bessie Bobtail" (words by James Stephens), the first 
two composed in 1927, sung by Miss Bampton with Mrs. John Braun 
at the piano, the third composed in 1934, sung by Mr. Benjamin de 
Loache, also with Mrs. Braun at the piano; "With Rue My Heart is 
Laden" (words by A. E. Housman) composed in 1928, and "Beggar's 
Song" (words by W. H. Davies) composed in 1936, sung by Mr. de 
Loache accompanied by Mrs. Braun; "Rain has Fallen" and "Sleep 
Now", composed in 1935, and "I hear an Army", composed in 1936 
(words of all three by James Joyce), sung by Miss Bampton with the 
composer at the piano. Since Mr. Barber was graduated in 1933, it will 
be seen that student days were represented as well as his most recent 
period. 

That Miss Bampton, Mr. de Loache, the Quartet, and Mr. Barber 
performed in Casimir Hall for the first time since being graduated con- 
stituted additional ' 'hrsts" , and a further unusual feature of the concert 



'The Music Guild broadcast of February 4,1935, over the NBC System was to the best of our knowledge 
the first all-Barber program to be given anywhere. Another all-Barber radio concert was that of May 9, 1935, 
when the Prix de Rome winners of that year were announced. Overtones, Vol. VI, pp. 22-23. 



{ 65 }• 



OVERTONES 



was the participation of Mrs. Braun who, having retired from public 
life, appears in concert as a pianist but rarely, and whose appearance 
on this occasion was an especial tribute to a graduate of a school of 
whose Board of Directors she is a member. But not one but all of these 
Curtis folk rendered homage to their former associate in the warmest 
and most whole-hearted manner, and their participation in the concert 
was readily and cordially given. 

The President of The Curtis Institute, Mrs. Mary Bok, paid verbal 
tribute to Mr. Barber from the stage before the concert began. At the 
conclusion of the program the composer modestly expressed his appre- 
ciation and thanked those who had taken part. 

Following the concert a reception for Mr. Barber was given in the 
Common Room. 

Some Performances of Mr. Barber' s Works 

Symphony in One Movement: BERNARDINO MOLINARI— AUGUSTEO ORCHES- 
TRA, Rome, December 13, 1936 (world premiere) 
ARTUR RODZINSKI — CLEVELAND ORCHESTRA, Cleveland, January 21 
(American premiere)— 23, 1937; NEW YORK PHILHARMONIC, New York, 
March 24-25, April 3-4, 1937; LONDON SYMPHONY ORCHESTRA, London, 
June 24, 1937; VIENNA PHILHARMONIC, Salzburg Festival, July 25, 1937 
(first American work to be played at these Festivals) 

Music for a Scene from Shelley: WERNER J ANSSEN— LONDON SYMPHONY 
ORCHESTRA, London, February 6, 1937 (world premiere by New York 
Philharmonic, New York, March 24, 1935) 
EUGENE ORMANDY— PHILADELPHIA ORCHESTRA, Philadelphia, March 
12-13-16, 1937 

String Quartet in B minor— PRO ARTE QUARTET, Rome, December 14, 1936 
(world premiere) 
GORDON STRING QUARTET, Washington, for the Friends of Music in the 
Library of Congress, April 20, 1937 (American premiere) 



Mr. Barber has been commissioned by Mr. Eugene Ormandy to 
compose a symphonic work for performance in 1938 by the Philadel- 
phia Orchestra. 

The New York Philharmonic-Symphony Society has asked Mr. 
Barber to compose a symphonic work for performance in 1938 under 
the direction of Mr. John Barbirolli. 

{66> 



by LOUIS BAILLY, MUS.D. 
Curator of Instruments, The Curtis Institute of Music 



LAST Winter I had the pleasure of welcoming a rather special arrival 
J at The Curtis Institute. The newcomer was a Domenico Montagnana 
violoncello, and receiving her at last into our family of string instru- 
ments was both a satisfaction and a thrill. 

This 'cello, I may explain, has been known to me by reputation for 
a long time. In the summer of 1929 rumors of its being in Shipley, a 
town near Bradford, Yorkshire, reached me. I was then in London and 
preparing to go on an instrument hunt. Of course I had to see this 'cello. 

By starting very early in the morning it was possible to arrive in 
Shipley by noon. I saw the 'cello and she was twice as beautiful as I had 
expected her to be! I had to have her for our Curtis Institute collection. 

But acquiring the 'cello was not so simple. The owner, an elderly 
German wool manufacturer, fully appreciated and liked to play upon 
his Montagnana — when his rheumatism permitted. He did not want to 
part with his Liebling. My siege continued for five hours, quite exhaust- 
ing all the diplomatic devices and tactics in my repertoire, and all of no 
avail. I was obliged to return to London and eventually to Philadelphia 
with only a promise, extracted at length from the old gentleman, that 
The Curtis Institute should ha ve first chance to purchase, for consolation . 

The famous house of Hill in London probably is acquainted with 
more string instruments than is any other establishment in the world. 
The elderly German wool manufacturer died and Hill had the job of 
putting thru the transaction passing the Montagnana from the estate 
to The Curtis Institute. The Montagnana was formally acquired in 
November 1936 and arrived at The Curtis Institute a month later. A 
romantic story concerning her was yet to be revealed. 

Mr. Alfred Hill, who it turned out had known our Montagnana 
since the 'Eighties, wrote me a letter telling that one day, presumably 
of the year 1901, he had come across a 'cello whose head and body 

< 67) 



OVERTONES 



were the work of two different makers. He bought the 'cello and suc- 
ceeded in establishing then and there that the head was the original 
head of the Montagnana 'cello now ours, which he knew had been 
sold "somewhere in Germany' ' . This Montagnana head he immediately 
removed and filed away "for future reference", being able at the same 
time, thru extraordinary circumstance, to restore the original head of 
the instrument he had just bought. So, when the Montagnana, thirty- 
five years later, went thru his hands, he restored with great satisfaction 
her original head also! And we (in my visit I had noticed the head was 
not original) had the thrill of receiving more than we had expected. 
I do not know how common such experiences of reuniting severed 
heads and bodies may be, even in the career of such a house as Hill, but 
here are two such cases wound up in the story of our Montagnana 
'cello. 

After cataloging the newcomer, I had the further pleasure of lend- 
ing the Montagnana, on behalf of The Curtis Institute, to the 'cello 
of the Curtis String Quartet, Mr. Orlando Cole. And then still another 
reunion occurred ! After hearing the Quartet play for the first time with 
the Montagnana, my colleague at The Curtis Institute, Mr. Felix 
Salmond, who subsequently twice this season appeared as guest artist 
with the Curtis String Quartet, examined the 'cello with pleasure and 
exclaimed that now his Goffriller would be brought together again 
with a former associate, Goffriller and Montagnana both having been 
once in the possession of the delightful little old German wool man- 
ufacturer of Shipley ! 

Our 'cello was made by Domenico Montagnana of Venice and bears 
a label dated 1729. Montagnana was a pupil of Stradivarius, and some 
authorities claim also of Niccolo Amati. The back of our 'cello, in two 
pieces, is of wood marked by a broad, wavy curl descending from the 
joint, that of the sides being similar, the head plainer; the table is of 
pine of vigorous growth and broad, open grain; the varnish of an 
orange-brown color. 



{ 68 > 



y^^ancctnina tke ^^acaULi 



SuMER is icumen in" — and the faculty turn to Europe. Mr. Fritz 
Reiner, having made one European tour January to March, goes to 
London in May for the German section of Co vent Garden opera. 
Madame "Lea Luboshutz, touring Europe since March, and Mr. Felix 
Salmond, also turn to London for concerts during the post-Coronation 
season. 

A member of the faculty who has returned to concert activity this 
season is Dr. Louis Bailly. He toured Europe professionally in February 
and March and made two appearances in New York City in March 
and April. 

Dr. Alexander McCurdy, organist, toured the south and southwest, 
going as far as the Pacific coast, in April. He is a graduate as well as a 
faculty member. 



This thirteenth season of The Curtis Institute has incffcded a bril- 
liant series of concerts in Casimir Hall by members of the faculty and 
with guest collaborators, Mr. Felix Salmond and Madame Lea Lubo- 
shutz giving recitals and Barrere-Salzedo-Britt a concert, the last thru 
the courtesy of Mr. Carlos S^lzedo, before the Christmas holidays. 

They Appear in Casimir Hall 

The first recital in Casimir Hall following the Christmas vacation 
was a recital by Mr. Efrem Zimbalist, on Thursday evening, 'January 
7th. Opening his program with Corelli's "La Folia" in the Kreisler 
arrangement, Mr. Zimbalist proceeded to a performance of his own 
Sonata in G minor (composed in 1927). Eugene Ysaye's Sonata in D 
minor, for violin alone, followed, with Max Bruch's "Scotch Fantasy" 
completing the second group. Returning to the platform, Mr. Zim- 
balist played "California" (Humoresque; on a tune by Paladilhe) by 



{ 69 > 



OVERTONES 



Arthur Loesser, Schubert's "Hark! Hark! the Lark" as arranged by 
Albert Spalding for violin and piano, the "Persian Song" of Glinka 
transcribed by Mr. Zimbalist for violin and piano, and Paganini's 
famous "Witches' Dance" in the Kreisler arrangement. Mr. Harry 
Kaufman of the faculty was the pianist-accompanist for the program. 
This was the third of the faculty recital series. 

Miss Genia Robinor and Dr. Louis Bailly presented a piano and 
viola sonata recital in Casimir Hall on Wednesday evening, January 
13th, a prelude to the series of sonata recitals given by them in Europe, 
and also in New York City, in February and March. Miss Robinor is a 
graduate of The Curtis Institute in chamber music, having studied 
with Dr. Bailly, and now a member of the faculty of The Settlement 
Music School, Philadelphia. On this occasion she appeared as guest 
pianist. The sonatas which Miss Robinor and Dr. Bailly performed 
in Casimir Hall were those of Georg Friedrich Handel, in G minor, 
Sergei V. Rachmaninow, also in G minor (Op. 19), and the two 
Johannes Brahms sonatas comprising Op. 120. The Handel originally 
in the form of a Concerto Grosso, the Rachmaninow having been writ- 
ten for 'cello and piano, and both the Brahms sonatas for clarinet and 
piano, these four sonatas, and others used by Miss Robinor and Dr. 
Bailly in their programs, have been transcribed by Dr. Bailly for viola 
and piano. 

On Tuesday evening, January 19th, a junior member of the faculty, 
Miss Jeanne Behrend, pianist, played the program which she repeated 
later in her Carnegie Hall recital. A feature of the program was a 
sonata of Miss Behrend's own composition. She played first the Con- 
certo Grosso, in D minor, of Antonio Vivaldi, as transcribed for piano 
by Alexander Kelberine. Mozart's Variations on an aria by Sarti 
"Come un' agnello" followed, after which Miss Behrend played two 
of Mr. Kelberine's Bach transcriptions: the choral prelude "Aus der 
Tiefe rufe ich" and the Prelude in E major from the Third Suite for 
Violin Solo. Miss Behrend's Sonata (Op. 7), composed in 1936, was 
next; the four movements are designated "Con energia ed intensita", 
"Lento piacevole", "Scherzo alia marcia", and "Passacaglia". The 
three remaining numbers of the program were Ravel's "Le Tombeau 
de Couperin", Nicholai Medtner's Marche Funebre, and Professor Leo- 



{ 70 } 



OVERTONES 



pold Godowsky's Waltz Paraphrase on Johann Strauss's "Die Fleder- 
maus". Miss Behrend is a teacher of Piano, Grade B, at The Curtis 
Institute. She is a graduate of the Institute in both piano and composi- 
tion, having studied with Dr. Josef Hofmann and Mr. Rosario Scalero. 
Dr. Josef Hofmann appeared in Casimir Hall on the evening of 
Thursday, April 8th. For the first number of the program Dr. Hofmann 
was joined on the stage by the Curtis String Quartet. This was the 
Quintet in F minor. Op. 34, by Johannes Brahms, which Dr. Hofmann 
and the Quartet had played in a concert by the Quartet at Dr. and Mrs. 
Hofmann 's home in Merion, Pennsylvania, April 5th (one of the 
Quartet's series of concerts in and around Philadelphia) and were again 
to play in a Beethoven Association concert in Town Hall, New York 
City, April 12th. The rest of the program consisted of the Twenty-four 
Preludes by Frederic Chopin, played by Dr. Hofmann. 



Mr. David Saperton has become a composer. Five of his pieces, all 
for piano, have been published: "Zephyr" (Presser); "Evening in the 
Desert", "By the Lagoon", "Cubanola", and "Boite a Musique" 
(Schirmer). "By the Lagoon" is available also in an arrangement for 
violin and piano (Schirmer). 

A new member of the faculty is Miss Estelle Liebling. Miss Liebling 
began teaching at The Curtis Institute in January, immediately follow- 
ing the Christmas holidays, in the vocal department. 



<71> 




CURTIS "alumnae," now in Cleveland, foregather in Severance Hall to greet their former Director. The occasion was Dr. 
Josef H of mann's solo appearance with the Cleveland Orchestra December 17-19, 1936. Nine graduates are members of the 
Orchestra. 



d^tt y^^LcveianJi 



As Will Be Seen from the accompanying picture, a sizable Curtis 
. Institute colony exists in Cleveland, Ohio, which includes the con- 
ductor of the Cleveland Orchestra, Dr. Artur Rodzinski, and the direc- 
tor of The Cleveland Music School Settlement, Miss Emily McCallip. 
Dr. Rodzinski was The Curtis Institute's head of Orchestra and Opera 
and conductor of the Curtis Symphony Orchestra for two years (1927- 
29) and Miss McCallip Curtis Institute Student Counselor for eight 
(1924-32). 

One graduate of The Curtis Institute occupies a rather prominent 
position in Cleveland musical circles in his triple capacity of choral 
conductor for the Cleveland Orchestra and operatic organization, head 
of the Opera Department of The Cleveland Institute of Music, and con- 

{11} 



OVERTONES 



ductor of certain independent choral groups. This is Boris Goldovsky, 
who has commuted to Philadelphia to carry on his duties as assistant 
conductor of the Curtis Symphony Orchestra and vocal coach at The 
Curtis Institute. In Cleveland Mr. Goldovsky has been busy this season 
with the Orchestra's performances of "Tannhauser" and "Elektra", 
and two important orchestral and choral works, Verdi's "Manzoni" 
Requiem and Beethoven's Ninth Symphony. In May he is directing a 
performance by students of The Cleveland Institute of Music of "The 
Marriage of Figaro". In Philadelphia he conducted the two ballet 
performances of Tschaikowsky's "The Sleeping Princess", given in 
its entirety for the first time in the United States by the Philadelphia 
Ballet, February 11th and 12th, at the Academy of Music, and a concert 
by the Curtis Symphony Orchestra for the Philadelphia Forum April 
15th. Because of his increasing activity in Cleveland, The Curtis 
Institute has granted Mr. Goldovsky a leave of absence during the 
coming year. 



BORIS GOLDOVSKY 

chorus master Cleveland Orchestra opera — conduc- 
tor Clereland Philharmonic Chorus — conductor 
Singers' Club of Cleveland — head Opera Depart- 
ment Cleveland Institute of Music — assistant con- 
ductor Curtis Symphony Orchestra — vocal coach 
Curtis Institute of Music. 




{73> 



OVERTONES 




ROSE BAMPTON 
Metropolitan Opera Association 

will lour Europe summer and early winter 



APPEARING IN LONDON DURING THE POST-CORONATION SEASON 

Miss Bamplon will be soloist June 24th, Mr. Cherkassky soloist June 22nd, with the London Symphony 
Orchestra conducted by Dr. Artur Rodzinski, in Queens Hall 




SHURA CHERKASSKY, Pianist 
remaining in Europe another season 



i 74 } 



OVERTONES 



NAD I A REI SEN BERG. Pianist 
toured Europe January- April 



JOSEPH LEVINE, Pianist 



louring Europe (debut) as accompanist for 
Madame Lea Luboshiitz, March-May 



GEN I A ROBINOR, Pianist 

toured Europe (debut) and gave two concerts 

in New York City, with Dr. Louis Bailly, 

January- April 




{75> 



H^e Am 'J-Lat . . . 



(News of Graduates) 

Helen Jepson is to sing "La Traviata", and Charlotte Symons 
"Gretel" in "Hansel und Gretel", with the Chicago City Opera 
Company in the season opening October 30th, according to the Opera 
Company's announcement. 

Lucie Stern, pianist, is booked for a tour in February 1938 of the 
southwest and middle west similar to the one she made this year, and 
expects to tour Europe again next autumn. 

Rose Bampton, mezzo-soprano, Benjamin de Loache, baritone, and 
Grace Castagnetta, pianist, have given ^Town Hall (New York City) 
recitals. 

Jeanne Behrend appeared with Alexander Kelberine in performances 
of Harl McDonald's new Two-Piano Concerto, dedicated to Miss 
Behrend and Mr. Kelberine, by Dr. Leopold Stokowski and the Phila- 
delphia Orchestra in Philadelphia, Baltimore, and New York, in April. 

Maryjane Mayhew Barton is the director of the Philadelphia Music 
Club Harp Ensemble. 

Henri Temianka, violinist, has created the Temianka Chamber 
Orchestra, in London. 

John Bitter has founded a chamber music society in Jacksonville, 
Florida, where he conducts the Jacksonville Symphony Orchestra. 

Victor Gottlieb, 'cello of the Coolidge Quartet, has appeared with 
William Kroll, violinist, and Frank Sheridan, pianist, as a trio. 

Fiorenzo Tasso, tenor, sang five performances of "Siegmund" ("Die 
Walkiire") at the Teatro Comunale, Bologna, under Maestro Del 
Campo, and appeared in "Parsifal" performed at the Teatro Reale, 
Roma, under Tulio Serafin. 

Jorge Bolet, pianist, will have a New York debut recital in the sea- 
son of 1937-38 by virtue of having won one of the Naumberg awards. 

Roland Leich, who is instructor in music at Dartmouth College, 
has won the first prize in this year's competition under the Joseph H. 

'Other New York recitals in the season just ending were announced in Overtones, Vol. VII, No. 1, 
p. 29. 

{ 76 > 



OVERTONES 



Beams award for musical composition, for his String Quartet in D flat. 
Mr. Leich also received a Beams prize in 1933- 

Eudice Shapiro has won the first prize in the violin division of 
this spring's National Federation of Music Clubs "Young Artists" 
competition. 

Ralph Berkowitz has had some transcriptions for two pianos 
accepted for publication: "Requiebros", Cassado (Schott, Mainz); 
"Short Story", Gershwin (Associated Music Publishers, New York); 
Allegro in G minor. Bach, Adagio in C minor, Haydn, and "Les 
Papillons", Couperin (Elkan-Vogel, Philadelphia). 

Agnes Davis, soprano, has been engaged by the Metropolitan 
Opera Association, New York, for its spring season. She will make her 
debut May 19th as "Elsa" in "Lohengrin". 



Records of "Amelia al Ballo" (Gian Carlo Menotti) have been 
made, by the cast of the world premiere and the Curtis Symphony 
Orchestra, with Mr. Sylvan Levin conducting, using the recording 
equipment of The Curtis Institute. 



in} 



c=^t?/«^ c^^dduLCH^ to tlic y^^taan in (^^a^intit ^^/-raU 



T 

by ALEXANDER McCURDY, MUS. D. 



THE Casimir Hall Organ was given to The Curtis Institute of Music 
by Mr. Cyrus H. K. Curtis in 1927, when the auditorium was being 
erected. The greater part of the instrument was installed before the 
hall was finished, and after all construction work was done the organ 
was finished and voiced for the hall. 

The installation is a remarkable one, all of the pipes being in rooms 
between the ceiling and roof. Many of the larger pipes had to be hoisted 
into place just after the steel work of the building was completed. Two 
sets of 16-foot pipes had to be put on their backs just above the ceiling. 
Every available space between ceiling and roof is taken up with mech- 
anism and pipes. 

The organ is a four-manual Aeolian, with about fifty ranks of pipes 
and about sixty stops, in six sections: Choir, Great, Swell, Solo, Echo, 
and Pedal. During the coming summer the organ will receive some 
important additions. 

When in the spring of 1937 Mrs. Bok presented the Wyncote home 
of her father, bequeathed her by his will, to Cheltenham Township, 
one section of Mr. Curtis's 'organ still remained in the house. This 
was the Echo division, of about fifteen ranks of pipes. Mrs. Bok asked 
me to find a place for this, and, if possible, to find some way of incor- 
porating it into the organ in Casimir Hall. Of course we wanted 
it in Casimir Hall. 

Here, however, I was immediately faced with three problems: 
first, where to put the mechanism and pipes; second, how to use another 
Echo organ when we already had one; third, how to control another 
division from the present console. Upon the solution of the first hung 
the whole question of our having or not having the additional pipes. 



^The major part of the organ was given by Mrs. Bok to Old Christ Church, Philadelphia, in 1935. — Ed. 

i 78 > 



OVERTONES 



With the help of Mr. Douglas G. Braik, associate architect with 
the late Mr. Horace Wells Sellers for Casimir Hall, the first problem 
was solved. It had been at once apparent that not one square inch of 
available space existed in the present building. There is no ground 
around Casimir Hall nor any of the buildings of The Curtis Institute. 
However, a space exists between the walls of Casimir Hall and those 
of the main building, and miraculously it is just large enough, by 
careful planning, to house our equipment. A room will be built in this 
space, necessarily irregular in shape, conforming to the outlines of the 
walls and corners of the two buildings, with a length of about fifteen 
feet overall, a width varying from roughly six feet to roughly eight, 
and (fortunately) adequate height. The room will be sound-proof, 
like Casimir Hall, and will have a large opening, over which some sort 
of screen will be placed, for emitting the sound, directly into the hall. 

Mr. G. Donald Harrison, Technical Director of the Aeolian-Skinner 
Organ Company, and I now tackled the other two problems. We de- 
vised a plan of revoicing the Echo organ from Mr. Curtis 's home, 
making some additions, and having what is called a Positiv organ. 
This new division will be voiced on very low pressure, along classical 
lines, being purely an ensemble section, completely unenclosed. It 
will be extremely valuable for playing all contrapuntal music, espe- 
cially Bach and his forerunners. 

There being no practical way to control a Positiv organ from the 
present console, it was evident that there would have to be a new 
console, so we have chosen a five-manual English type, draw-knob, 
remote control, movable console to take care of the present instrument 
and all of the additions. The new console will have all of the mechan- 
ical helps possible. All manual pistons will be double-touch, and of 
course adjustable, the second touch bringing on a suitable pedal. 
When the stage of Casimir Hall needs to be clear, we shall, by means 
of a junction board, be able to disconnect the console, put it on the 
elevator, and take it to the storeroom, in the same way that pianos 
are now taken to and from the stage of Casimir Hall. The present con- 
sole will be retained and kept intact so that it can be used at times 
when it is not convenient to have the larger console in the hall. 

It had been a great disappointment to Mr. Curtis, Dr. Lynnwood 



{19} 



OVERTONES 



Farnam (then instructor of organ at The Curtis Institute), and the 
Aeolian Company, in building the organ, that no place could be found 
for even a few notes of a 32-foot stop. Our new room will provide the 
necessary space and height and we shall have a new 32-foot reed and 
a new 16-foot reed, both to be played from the Pedal organ. 

It is expected that the new room will be constructed and all work 
on the organ done in time for the opening of the Institute next autumn. 
The students and I can scarcely wait to get our hands and feet on the 
new console and play the "new" organ. 



The Organ Department of The Curtis Institute is cooperating 
with St. James's Church (Philadelphia) and the Episcopal Academy 
(Merion, Pennsylvania) in establishing a choir school for boys to be 
under the direction of Dr. Alexander McCurdy. Plans have been worked 
out by the Reverend John Mockridge, Rector of St. James's Church, 
Mr. Greville Haslam, Headmaster of the Episcopal Academy, and Dr. 
McCurdy, Curtis Institute instructor of organ, for the formation of a 
boy choir for St. James's Church whose choristers will receive scholar- 
ships at the Episcopal Academy. A department of music is to be insti- 
tuted at the Episcopal Academy, which Dr. McCurdy will head. These 
students of the Academy forming the choir of St. James's Church will 
have daily rehearsals with Dr. McCurdy. 

Preparations for the development of the choir school already are 
under way. Richard Purvis, Cyrus Curtis Organ Scholarship student 
in The Curtis Institute, becomes organist and assistant choirmaster of 
St. James's Church June 1st. The Curtis Institute will send Mr. Purvis 
to England during the summer for a two-months' pilgrimage of the 
famous old cathedrals and choir schools of that country. 

It is expected that the choir school will begin functioning in 
September. 



{ 80 > 



LJi^fcta 4A 



tenture^ 



A PRiL 1, 1937, was a date of considerable importance to The Curtis 
f\. Institute. On the evening of that day the first opera to be com- 
posed by a Curtis Institute graduate was performed for the first time 
anywhere. "Amelia al Ballo" was composed, words and music, by 
Gian Carlo Menotti, who studied at The Curtis Institute with Mr. 
Rosario Scalero. It was the pleasure of The Curtis Institute to premiere 
this work. 

The performance was given in the Academy of Music, Philadelphia. 
The full program of the evening consisted of another premiere, the 
American, of Darius Milhaud's "Le Pauvre Matelot", followed by the 
world premiere of "Amelia al Ballo". The two one-act operas, the 
one a tragedy, the other bufja, were sung in English. 

The operas were given with the Curtis Symphony Orchestra. Mr. 
Fritz Reiner was musical director, Dr. Ernst Joseph Maria Lert stage 
director, Mr. Boris Goldovsky assistant conductor, and Mr. Sylvan 
Levin chorus master. The principals were: for "The Poor Sailor" — 
Anna Leskaya (the wife), Tritz Krueger (the sailor), ^Leonard Treash 
(his father-in-law), and Percival Dove (his friend); for "Amelia Goes 
to the Ball" — Margaret Daum (Amelia), Conrad Mayo (her husband), 
William Martin (her lover), -Edwina Eustis (her friend), ^Leonard 
Treash (police officer), Wilburta Horn (the cook) and ^Charlotte 
Daniels (the maid). The performance was in benefit of the Philadel- 
phia Musicians' Relief Fund. 

A reception, given in the Common Room of The Curtis Institute, 
followed the performance. 

A second performance of these operas was given on Friday evening, 
April 9th, at the Lyric Theatre in Baltimore, with ^Selma Amansky 
singing the role of the wife of "The Poor Sailor" and the cast other- 
wise, for the Milhaud opera, being the original one; for "Amelia Goes 



^Student of The Curtis Institute. 
^Graduate of The Curtis Institute. 



{ 81 > 



OVERTONES 



to the Ball" there was a student cast, with two exceptions (William 
Martin again singing the role of the lover and Leonard Treash that 
of the police officer): Florence Kirk (Amelia), Ellwood Hawkins (her 
husband), Elsie MacFarlane (her friend), Wilburta Horn and Charlotte 
Daniels (the cook and the maid) as in the original cast. The audience 
was assembled by invitation. 

The operas were performed in New York, for the first time in that 
city, with the original casts, on Sunday evening, April 11th, at the 
New Amsterdam Theatre. The performance honored the seventieth 
birthday of Miss Lillian D. Wald, the proceeds going to the Music 
School of the Henry Street Settlement. 

On Sunday afternoon. May 2nd, with Mr. Sylvan Levin conducting 
and the ^original cast, excerpts from "Amelia al Ballo" were broadcast 
from Casimir Hall over the CBS network, this being "Amelia's" 
radio debut. 




FRITZ REINER and GUN CARLO MENOTTI 
discuss the score of "Amelia al Ballo" 



^Elsie MacFarlane substituted for Edwina Eustis as the friend. 



•f 82 > 



Guest Recital 

The Russian two-piano recitalists, Vitya Vronsky and Victor Babin, 
gave a recital in Casimir Hall on Monday evening, February 8th, at 
the invitation of Dr. Hofmann. The program was that prepared for 
their American debut in Town Hall the following Sunday afternoon: 
Schumann's Andante and Variations, Opus 46, Debussy's "En blanc et 
noir", Rachmaninoff's Second Suite, Opus 17, and Barcarolle, Opus 5, 
and the Polovetzkian Dances from "Prince Igor" as transcribed by Mr. 
Babin, the last performed by permission of Mr. M. P. Belaieff. 

Lecture 

The Philadelphia violin-maker, Mr. William Moennig, lectured on 
the making of string instruments at The Curtis Institute in February. 
Mr. Moennig's talk, an informal discussion, was repeated four times 
during the month. Every student of string instruments attended. 

Lecture-Recital 

Mr. Felix Labunski, Warsaw composer, lecturer, and critic, deliv- 
ered a talk on "Four Centuries of Polish Chamber Music" on Wednesday 
evening. May 5th, in Casimir Hall. Besides phonograph records used 
by Mr. Labunski, the lecture was illustrated by a program of Polish 
chamber music played by students under Dr. Louis Bailly; the Szar- 
zynski Sonata for two violins and organ, played by Marian Head and 
Julius Schulman, violins, and Claribel Gegenheimer, organ; the first 
movement of the Zarebski piano quintet, played by Jorge Bolet, 
piano, Marian Head and Julius Schulman, violins, David Schwartz, 
viola, and Leonard Rose, 'cello; and the final movement of the lec- 
turer's own String Quartet No. i, composed in 1934, played by Marian 
Head and Julius Schulman, violins, David Schwartz, viola, and 
Leonard Rose, violoncello. 

i 83 > 



c 



aiitntettcentem 



The fourth Commencement will be held on Tuesday afternoon. 
May 18th, with the following ^students being graduated: 

(to receive the Diploma of The Curtis Institute of Music) — 
Julius Baker, in Flute 
Carl Buchman, in Conducting 
Elvin Clearfield, in Clarinet 
James Fairweather, in Trumpet 
^Joseph Levine, in Conducting 
Samuel Mayes, in Violoncello 
Edward O'Gorman, in Conducting 
Bernard Portnoy, in Clarinet 
Ezra Rachlin, in Piano and Conducting 
Jules Seder, in Bassoon 
David Schwartz, in Viola 
Zadel Skolovsky, in Piano and Conducting 
Hugo Weisgall, in Conducting 

(to receive the Degree Bachelor of Music) — 
Marjorie Call, in Harp 
^Marjorie Tyre, in Harp 

The usual reception and tea dance will follow the exercises which 
are held in Casimir Hall. 



'List subject to correction. 
^Mus. Bac. in Piano, 1936. 
^Diploma, 1936. 



{ 84 > 



<z^tudent <:=:^ctivu 



T 



ce^ 



Casimir Hall 

HE second student concert of the year was given by students of 

organ with Dr. Alexander McCurdy on Tuesday evening, February 
9th. Walter Baker played the Bach Fantasy and Fugue in G minor, the 
Spinning Song from Marcel Dupre's Suite Bretonne, and Tournemire's 
Paraphrase-Carillon; Richard Purvis, the Cantabile and Scherzo from 
Vierne's Symphony No. 2, and the Sortie from "Messe Basse" of the 
same composer; and Claribel Gegenheimer, Schumann's Canon in B 
minor, Sigfrid Karg-Elert's Choral-Improvisation: "O Gott, du from- 
mer Gott", and Henri Mulct's Toccata; "Tu espetra" from "Esquisses 
Byzantines". 

On Tuesday evening, February 23d, Marjorie Call, harpist, played 
her graduation recital. The program consisted of Mr. Salzedo's Varia- 
tions on a Theme in Ancient Style, Palmgren's "May Night" (trans- 
scribed by Florence Wightman), Debussy's "En bateau", two French 
folk-songs "Et ron ron ron, petit patapon" and "Le bon petit roi 
d'Yvetot" by Marcel Grand) any, the first performance anywhere of 
Mr. Salzedo's ^"Scintillation" (dedicated to Miss Call), and Debussy's 
"Danse Sacree" and "Danse Profane", with Mr. Salzedo at the piano. 
Miss Call is graduating with the degree Bachelor of Music May 18th, 
having studied with Mr. Carlos Salzedo. 

Samuel Mayes, violoncellist, who became a member of the Phila- 
delphia Orchestra at the beginning of the season just ended, played his 
graduation recital on Monday evening, March 29th. His program was: 
Toccata (Frescobaldi-Cassado), Sicilienne (Paradis-Dushkin), Vivace 
(Senaille-Salmon), Beethoven's Seven Variations on a Theme from 
Mozart's "The Magic Flute", Johann Sebastian Bach's Suite in C 
major, No. 3, for violoncello alone, Beethoven's Sonata in A major, 
Op. 69, the Prayer from Bloch's "Jewish Life", Debussy's Menuet, 

KDVERTONES, Vol. VII, No. 1, p. 11. 

{ 85 > 



OVERTONES 



and Rondo (Weber-Piatigorsky). Ralph Berkowitz, graduate 1935 in 
accompanying, was at the piano. Mr. Mayes has been a student with 
Mr. Felix Salmond, and will receive The Curtis Institute diploma May 
18th. 

The third student concert was given on Sunday evening, April 4th, 
by students of woodwind ensemble under Mr. Marcel Tabuteau. Jorge 
Bolet, pianist, graduate under Mr. David Saperton, assisted in 
the program, appearing in the Beethoven Quintet in E flat major, 
Op. 16, and Joseph Jongen's Rhapsodic. Other works performed 
were the Aubade of Paul de Wailly, Igor Strawinsky's Pastorale, 
Frederick Jacobi's Scherzo (for flute, oboe, clarinet, French horn, and 
bassoon), which had its first performance on that evening, and Gabriel 
Pierne's "Pastorale variee dans le style ancien". Op. 30. Mr. Jacobi 
was in the audience. The woodwind students participating were 
Albert Tipton, George Morey, and Julius Baker, flutes; Harry Schul- 
man, oboe; Bernard Portnoy and William McCormick, clarinets; Her- 
bert Pierson and Mason Jones, French horns; Martin Fleisher, English 
horn; Richard Barron and Manuel Zegler, bassoons; and Arthur 
Statter, trumpet. 

On Sunday evening, April 18th, students of Mr. Alexander Hilsberg 
in violin gave a concert. Edward Matyi played one movement of 
Niccolo Paganini's Concerto No. 1 in D major. Op. 6; Kurt Polnarioff, 
Henri Vieuxtemps's Concerto No. 4 in D minor. Op. 31; Isidore Gral- 
nick, Camille Saint-Saens's Concerto No. 3 in B minor. Op. 61; and 
David Frisina, graduate under Mr. Hilsberg, and Kurt Polnarioff, the 
Suite of Moritz Moszkowski for two violins and piano, Op. 71. 
Eugene Helmer, graduate in accompanying under Mr. Harry Kaufman, 
was at the piano for the entire program. 

Piano students with Mr. David Saperton gave the fifth student 
concert on Monday evening, April 19th. Abbey Simon opened the 
program with the Fantasy and Fugue in G minor, Bach-Liszt, after 
which Bessie Singer played the first movement from Beethoven's 
Sonata in D minor. Op. 31, No. 2, and Chopin's Nocturne in E minor. 
Op. 72, No. 1, and Scherzo in B flat minor. Op. 31. Constance Russell 
then played Cesar Franck's Prelude, Choral and Fugue, and Manuel 
de Falla's "Andaluza". Debussy's "Arabesque", in E, three move- 



{ 86 > 



OVERTONES 



ments of Beethoven's Sonata in A, Op. 2, No. 2, and Mr. Saperton's 
composition "Zephyr" were performed by Robert Cornman. Abbey 
Simon played "Liebesleid", Kreisler-Rachmaninoff, and "Alborado del 
gracioso", Maurice Ravel. Sidney Finkelstein brought the program 
to a close with the Chopin Barcarole in F sharp, Op. 60, Debussy's 
"Poissons d'Or", and the waltz from the ballet "Naila", Delibes- 
Dohnanyi. 

As we go to press, student concerts for May are scheduled as 
follows: Monday evening May 3d — Annette Elkanova, Barbara 
Elliott, Phyllis Moss, Gary Graffman, and Sol Kaplan, students of 
piano with Madame Isabelle Vengerova; Thursday evening. May 6th 
— Edna Haddock, Florence Kirk, Vera Resnikoff, Lester Englander, 
William Home, and Fritz Krueger, students of voice with Mr. Emilio 
de Gogorza; Friday evening. May 7th — Elza Reed, Julius Schulman, 
Noah Bielski, and Frederick Vogelgesang, students of violin with 
Mr. Efrem Zimbalist; Monday evening. May 10th — Leonard Rose, 
student of violoncello with Mr. Felix Salmond; on Monday evening, 
May 17th, the graduation recital of Jeanette Weinstein, who has been 
a student of piano with Mr. David Saperton (Miss Weinstein received 
the diploma of The Curtis Institute in 1936); and Wednesday eve- 
ning. May 19th — George Brown, Leonard Frantz, Jules Salkin, David 
Schwartz, and Samuel Singer, students of viola with Dr. Louis Bailly. 

Kadio 

The eighth annual Curtis Institute series of radio concerts has 
consisted of twenty-nine forty-five-minute broadcasts on Wednesday 
afternoons during the school year. All departments of the school 
were represented and several graduates and faculty members per- 
formed as "guests". 

The December 30th program was given by Jane Shoaf and Ellwood 
Hawkins, students of the vocal and operatic departments, with Mr. 
Sylvan Levin, graduate of the Institute and instructor in vocal reper- 
toire, at the piano. 

Students of chamber music with Dr. Louis Bailly gave the January 
6th concert, playing in quintet, trio, and chamber orchestra groups. 
In this concert Karl Friedrich Abel's Symphony in D, Op. 7, No. 3, 



OVERTONES 



for oboe, bassoon, and strings, had its first performance, conducted 
by Dr. Bailly. 

The January 13th program was given by Ralph SchaefFer, student 
of violin with Madame Lea Luboshutz, and William Home, student 
of voice with Mr. Emilio de Gogorza. The accompanists at the piano 
were Mr. Eugene Helmer and Miss Elizabeth Westmoreland, both 
graduates of the Institute, Miss Westmoreland also an instructor of 
vocal repertoire. 

The Curtis Symphony Orchestra, Mr. Boris Goldovsky conducting, 
gave the concert of January 20th, in which Philip Frank, graduate in 
violin under Mr. Efrem Zimbalist was guest soloist. 

The Curtis Institute cooperated in the celebration of the second 
annual Edward MacDowell radio festival by having its concert of 
January 27th a MacDowell program. Lester Englander, baritone 
student with Mr. Emilio de Gogorza, and Mr. Sylvan Levin gave the 
performance, Mr. Levin playing the "Tragica" Sonata. 

The February 3d program was given by Florence Kirk, soprano, 
and Leonard Treash, bass-baritone, student and graduate respectively 
under Mr. Emilio de Gogorza. Oscar Eiermann, student of accom- 
panying with Mr. Harry Kaufman, was at the piano. 

Sol Kaplan, piano student with Madame Isabelle Vengerova, and 
Oskar Shumsky, graduate in violin under Mr. Efrem Zimbalist, gave 
the program of February 10th. Mr. Shumsky was accompanied at 
the piano by Ethel Evans, student with Mr. Harry Kaufman. 

Students in woodwind ensemble under Mr. Marcel Tabuteau 
gave the concert of February 17th, with Jorge Bolet, graduate pianist 
under Mr. David Saperton, assisting in one number of the program. 
An interesting feature was the performance of Mr. William Strasser's 
transcription for woodwinds of Johann Sebastian Bach's Prelude 
and Fugue in C major for organ. Mr. Strasser is a member of the 
Institute staff. 

Sidney Finkelstein, piano student with Mr. David Saperton, and 
Julius Schulman, violin student with Mr. Efrem Zimbalist, gave the 
program of February 24th. The piano accompanist was Ethel Evans, 
student with Mr. Harry Kaufman. 

Samuel Mayes, student of violoncello with Mr. Felix Salmond, 



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and William Home, tenor, student with Mr. Emilio de Gogorza, 
gave the program of March 3d. The accompanists were Ralph Berk- 
owitz, graduate, and Miss Westmoreland. 

Two younger students gave the program of March 10th, Annette 
Elkanova, student of piano with Madame Isabelle Vengerova, and 
Rafael Druian, student of violin with Madame Lea Luboshutz. Ethel 
Evans at the piano. 

Daniel Healy, tenor, was a guest in the March 17th program, 
singing, appropriately, some Irish airs. When Mr. Healy (of Irish 
blood) was a student at The Curtis Institute, the Institute sent him 
to Ireland for the purpose of studying, on native soil, the folksongs 
of the gallant Gaelic people. Upon his return, Mr. Healy wrote of 
some of his unique experiences for Overtones, his article appearing in 
the October 1931 issue (Vol. Ill, No. 1), under the title "An Irish 
Music Fest" . Frederick Vogelgesang, student of violin with Mr. Efrem 
Zimbalist, gave the rest of the program. The accompanists were 
Ethel Evans and Sarah Lewis, the latter a student of the Institute 
of Mr. Healy's day. 

Three young people who during their student days at The Curtis 
Institute have associated themselves frequently as collaborators in 
performances, Marjorie Call and Reinhardt Elster, harpists, students 
with Mr. Salzedo, and Leonard Rose, 'cellist, student with Mr. 
Salmond, gave the concert of March 24th. The program included works 
played by two harps, works for harp and 'cello, and a work for two 
harps and 'cello, the last being five popular Spanish songs of de Falla 
played for the first time on the air. Mr. Salzedo's composition "Scin- 
tillation" also had its first radio performance, by Miss Call. 

On March 31st Abbey Simon, piano student with Mr. David 
Saperton, and Noah Bielski, violin student with Mr. Efrem Zimbalist, 
gave the program, Louis Shub, student of accompanying with Mr. 
Harry Kaufman, at the piano. 

Edna Haddock, soprano, student with Mr. Emilio de Gogorza, 
and Phyllis Moss, piano student with Madame Isabelle Vengerova, 
gave the April 7th program. Mr. Eugene Helmer was accompanist. 

The April 14th program was operatic, consisting of duets, recita- 
tives, a soprano solo, and quartets from the first and second acts 



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of "Martha" (von Flotow), sung in English by Jane Shoaf as 
"Martha", Elsie MacFarlane as "Nancy", Leonard Treash, graduate, 
as "Plunkett", and Fritz Krueger as "Lionel", with Mr. Sylvan 
Levin playing piano accompaniment. Miss Shoaf, Miss MacFarlane, 
and Mr. Krueger study operatic acting with Dr. Ernst Lert. 

The April 21st concert programmed Moszkowski's Suite for two 
violins and piano, in G minor. Op. 71, played by David Frisina, 
violinist, graduate under Mr. Alexander Hilsberg, Kurt PolnariofF, 
violin student with Mr. Hilsberg, and Vladimir Sokoloff, graduate 
accompanist, and songs sung by Vera Resnikoff, student with Mr. 
Emilio de Gogorza. 

The April 28th concert, closing the eighth Curtis Institute radio 
season, was something of a gala affair. Benjamin de Loache, baritone 
(graduate of the Institute), Nadia Reisenberg, pianist (graduate and 
junior member of the faculty), and Mr. Felix Salmond, violoncellist 
(member of the faculty) gave the program. Mr. de Loache opened the 
program, singing two songs by Hugo Wolf: "Auf dem griinen Balkon" 
and "Auf ein altis Bild", and two by Manuel de Falla separated by 
one by Mr. Placido de Montoliu, of the faculty: "El pano moruna", 
"Caricion de cuna", and "Seguidille". Miss Reisenberg and Mr. 
Salmond then played Sonata in E minor. Op. 38, by Johannes Brahms. 
Mr. de Loache again came to the microphone and sang an air from 
Milton's "Comus" by Dr. Thomas Arne, Samuel Barber's "Beggar's 
Song", Randall Thompson's "Velvet Shoes", and a new song of John 
Duke, "Twentieth Century", from manuscript. Mr. Sylvan Levin 
was accompanist for Mr. de Loache. 

These Curtis Institute radio concerts all were identified on the air 
by Dr. Josef Hofmann's Berceuse, played by graduates or students. 

Concert Course 

The Concert Course, which booked thirty concerts for the season 
at the beginning of the school year, was swollen to forty-nine before 
the school year was over. Nineteen concerts given between October 
1st and the end of December were reported in our January number. 
There have been some interesting programs and various soloists and 
groups have been in demand. 



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OVERTONES 



^Eudice Shapiro, violinist, ^Leonard Treash, bass-baritone, ^Wil- 
liam Harms, pianist, and Annette Elkanova, pianist, have given 
recitals in this course. Three trios have been popular, one a trio of 
violin, violoncello and piano in w^hich Leonard Rose and Samuel 
Mayes have alternated as the 'cello, Annette Elkanova and Sol Kaplan 
taking turns as the piano, with Frederick Vogelgesang as the violin; 
a second trio of two harps and a 'cello consisting of Marjorie Call 
and Reinhardt Elster, harps, and Leonard Rose, 'cello; the third trio 
a violin, viola and flute combination known as the Trio Classique, 
composed of ^Eudice Shapiro, ^Virginia Majewski, and ^Ardelle 
Hookins. These trios usually give programs of solos for each instru- 
ment, duets, and trios. Another interesting combination has been 
that of voice and piano with flute obbligato, June Winters, soprano, 
Eugene Bossart, piano accompanist, and Burnette Atkinson, flute, 
having appeared in this way. 

Operatic programs also are popular. Wolf-Ferrari's "Secret of 
Suzanne" has been given three times in this course, with Jane Shoaf, 
Lester Englander, and William Home. On two occasions the little 
opera had two-piano accompaniment played by ^Joseph Levine and 
^Elizabeth Westmoreland, and by Ethel Evans and Miss Westmoreland. 
The other performance was given with piano accompaniment by Mr. 
'Eugene Helmer. The "spinning scene" from the second act of 
"Martha" was given also, by 'Charlotte Daniels, Jane Shoaf, Fritz 
Krueger, and 'Leonard Treash, with Miss Westmoreland playing the 
piano accompaniment. These operatic programs are given with 
costumes and scenery. 

Another feature of the Concert Course has been the courses that 
have developed within the Curtis Institute Concert Course. There have 
been two such concert courses, one a series given at The Barclay in 
Philadelphia, the other a series given in private homes of patrons of 
The Barclay series. 

The Curtis Syinphony Orchestra 
The Curtis Symphony Orchestra played the Tschaikowsky ballet 



'Graduate of The Curtis Institute. 

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OVERTONES 



"The Sleeping Princess" for the two performances, without cuts, given 
by the Philadelphia Ballet Company in the Academy of Music, Phila- 
delphia, on February 11th and 12th. The February 11th performance, 
for the Philadelphia Forum, was the American premiere, the date hav- 
ing been changed from the 8th as 
originally announced. Mr. Boris 
Goldovsky, assistant conductor of 
the Orchestra, conducted the 
performances. 

The Orchestra, again conducted 
by Mr. Goldovsky, gave a concert 
for the Philadelphia Forum in the 
Academy of Music on April 15th. 
Oskar Shumsky, violinist, doing 
post-graduate work with Mr. Efrem 
Zimbalist at The Curtis Institute, 
was soloist. The program consisted 
of Carl Goldmark's Overture "Im 
Friihling' ' , the Nocturne and Scherzo 
from "A Midsummer Night's 
OSKAR SHUMSKY, non>us: Dteam", Felix Mendelssohn-Bar- 

tholdy, the Saint-Saens Concerto No. 3, in B minor, in which Mr. 
Shumsky appeared, the Waltz Sequences from the third act of 
"Der Rosenkavalier" of Richard Strauss, and Les Preludes of Franz 
Liszt. 

These were professional engagements for the Orchestra. As else- 
where recounted, the Orchestra also played the orchestral parts of 
"Le Pauvre Matelot" and "Amelia al Ballo" given under the auspices 
of The Curtis Institute. 




Chamber Music 

The two concerts of chamber music which are to be given in the 
Philadelphia Museum of Art and in Town Hall, New York City, under 
Dr. Louis Bailly, have been postponed from April 18th and 26th to 
November 21st and 22nd. 



{ 92 > 



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Professional Engagements 

Two students, Fritz Krueger, tenor, and Elsie MacFarlane, con- 
tralto, were engaged by the Philadelphia Orchestra for the perform- 
ances of Beethoven's Ninth Symphony, conducted by Mr. Eugene 
Ormandy, March 25th and 27th. Agnes Davis, graduate, was the 
soprano soloist. Eugene Loewenthal, graduate, sang the baritone part. 

Ezra Rachlin, pianist, being graduated May 18th, played recitals in 
Danbury, Connecticut; Auburn, New York, and Oil City and Union- 
town, Pennsylvania, during the winter. 

Marjorie Tyre, graduate harpist, who is receiving her Bachelor of 
Music degree May 18th and who is a member of the Philadelphia 
Orchestra, Reinhardt Elster, harpist, and Leonard Rose, 'cellist, gave 
a concert at the International Students' House, in Philadelphia, Janu- 
ary 21st. 

Leonard Rose, 'cellist, and Bernard Portnoy, clarinetist, played 
the Haydn Concerto and the Mozart A major Concerto respectively 
with the Youth Symphony Orchestra at a concert given February 17th 
in the Fleischer Auditorium, Philadelphia, one of the musical events 
organized as an annual series by a group of young people under the 
auspices of the Y. M. and Y. W. H. A. of Philadelphia. 

Fritz Krueger, tenor, was the music master in a performance of 
Pergolesi's "The Music Master" given under the auspices of the Italo- 
American Philharmonic Orchestra in the ballroom of the Stephen Girard 
Hotel, Philadelphia, February 7th, conducted by Mr. Gueglielmo 
Sabatini. 

Marjorie Call, harpist, gave two programs for the Teachers Asso- 
ciation in Wilmington, Delaware, at the Wilmington High School 
February 8th and at the Warner Junior High School March 15th. She 
has been engaged by Mr. Fabien Sevitzky for the Indianapolis Sym- 
phony Orchestra. 

Sidney Finkelstein, pianist, gave a recital for the New Orleans 
Section of the Council of Jewish Women in the Gold Room of the 
Roosevelt Hotel, New Orleans, January 21st. 

Barbara Thorne, soprano, and Elsie MacFarlane, contralto, have 
been soloists at the Second Presbyterian Church, Philadelphia, in per- 

<93> 



OV E RT O N E S 



formances of the Brahms Requiem, the Rossini "Stabat Mater", and 
the Bach St. Matthew Passion, conducted by Dr. Alexander McCurdy. 
Miss Thorne and Miss MacFarlane, and Lester Englander, baritone, 
have been soloists with Walter Baker, organist, at the First Baptist 
Church, Philadelphia. 

Gary GrafFman and Barbara Elliott, pianists, were soloists in the 
Philadelphia Chamber String Simfonietta children's concert conducted 
by Mr. Fabien Sevitzky in the Bellevue-Stratford ballroom, Phil- 
adelphia, April loth. These are two of the younger students of The 
Curtis Institute. 

Jane Shoaf, soprano, Elsie MacFarlane, contralto, William Home, 
tenor, and Lester Englander, baritone, were soloists with the Uni- 
versity of Pennsylvania Choral Society and an orchestra selected from 
the Curtis Symphony in a concert conducted by Dr. Harl McDonald in 
Irvine Auditorium, Philadelphia, May 4th. 

Jules Baker, flute, and David Schwartz, viola, have been engaged 
by Dr. Artur Rodzinski for the Cleveland Symphony Orchestra, and 
Wallace McManus, harp, by the Band of the United States Naval 
Academy at Annapolis. 

Students are interested in amateur photography and have formed 
a camera club, doing all the work of producing pictures, including 
the developing and printing, themselves. The club gave its first ex- 
hibition in May. The photographs, which included still life and por- 
traits, besides views of country, city, and sea, showed imagination 
and a flair for pictorial composition and design. Jorge Bolet, Sidney 
Finkelstein, Sol Kaplan, William Klenz, Ezra Rachlin, Jules Salkin, 
and Oskar Shumsky exhibited, besides Mrs. Mary Bok, who is an 
honorary member. 



{ 94 > 



J-lhtatu y Vctc^ 



1 

Recent additions (gifts) to the Curtis Institute Library: 

First Editions 

Bach, Johann Sebastian. Brandenburg Concert! numbers 1, 3, 4, 5 and 6. Leipzig: 
Peters (1850). With facsimile of the original dedication in Bach's autograph. 
Second edition of the Second Concerto, London: Novello, completing the set. 
The scores. 

Beethoven, Ludwig Van. Pianoforte Sonata, C Major, Op. 53- Vienna: Bureau des 
Arts et d'Industrie (1805). The famous "'Waldstein" Sonata. 

Beethoven, Ludwig Van. String Quartet, C Sharp Minor, Op. 131- Mainz: Schott 
(1827). The four parts. 

Beethoven, Ludwig Van. Ninth Symphony. Mainz: Schott (1826). The parts. 

Mozart, Wolfgang Amadeus. Les Dix Principaux Quatuors, avec la Fugue. Offenbach 
am Main: Jean Andre (about 1810). First collected edition and first edition of the 
scores. The Quartets are Kochel numbers 387, 421, 458, 428, 464, 465, 575, 590, 
589, and 499; the Fugue K. 546. 

Schubert, Franz. Sieben Gesange aus Walter Scott's Fraulein vora See. Vienna: 
Artaria (1826). Including the famous Ave Maria. Piano accompaniment. 

Strauss, Johann. Die Fledermaus. Vienna: Schreiber (1874). Piano-vocal score. 

TscHAiKowsKY, Peter Ilitch. Cassc-Noisctte Suite. Moscow: Jurgenson (1892). 
Orchestral score. 

Verdi, Giuseppe. FalstafF. Milan, Rome, etc.: Ricordi (1893)- Piano-vocal score. 

Wagner, Richard. Die Feen. Mannheim: Heckel (1888?). Piano-vocal score. The first 
production of this opera was given in 1888 at Munich, forming the basis of the 
approximate date of this publication. (The Library also owns the 'orchestral 
score, from the privately printed edition for King Ludwig.) 

Wagner, Richard. Der Ring des Nibelungen. Mainz: Schott (1873-1876). This set 
comes from the library of Camille Saint-Saens and bears his monogram stamped 
in gold on the front cover of each of the four volumes. Orchestral scores. 



•OVERTONES, \^ol. VI, p. 64. 

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OVE RT O N E S 



INDEX TO VOLUME VII 

"Amelia al Ballo": sketch of "Amelia" by Daria Cecchi — 56; sketch of stage setting (Oenslager) — 62; 

article on Gian Carlo Menotti and — 57; premiere and some subsequent performances — 81; recorded — 77 
Bailly, Mus.D., Louis: The Romance of 'Cello jz — 67 

Bampton, Rose: appears in London, post-Coronation season; photograph — 74; European tour 1936 — 20 
Barber, Samuel : concert of his works at Curtis Institute — 65; some performances of his works — 66; Symphony, 

String Quartet premieres — 15, 16; photographs — 14, 26, 64 
Bok, Mrs. Mary: photograph with Fritz Reiner — 24; honored by National Institute of Social Sciences — 63 
Brahms, Johannes: photograph with Ernestine Schumann-Heink — 4 
Braun, Edith Evans: Memories of Ernestine Schumann-Heink — 5; photograph — 8 
Cafeteria : photograph — 46 
Chcrkassky, Shura: appears in London, post-Coronation season; photograph — 74; begins European tour 

summer 1936 — 20 
Christmas Party — 45 

Cleveland: former Curtis people now in; photograph — 72 
Coming Events — 29 
Commencement — 84 

Connell, Horatio: Curtis Institute observes his passing — 19 

Curtis String Quartet: European tour 1936 — 20; photograph with Samuel Barber — 14 
Editorial — 12 

European Tours (graduates, 1936) — 20 

Faculty: "outside" activities— 21, 23, 69, 71; Casimir Hail~22, 69; new members— 23, 71 
Goldovsky, Boris: activities; photograph — 73 
Graduates: European tours 1936 — 20; news of — 15, 76 
Henderson, W. J. : Josef Hofmann (poem) — 55 
Hofmann, Mus.D., Josef : American debut; photograph— 54; Golden Jubilee— 53; poem by W.J. Henderson— 

55; photograph — 52 
Labunski, Felix: lecture — 83 

Levine, Joseph: tours Europe spring 1937; photograph — 75 
Library Notes — 95 

McCurdy, Mus.D., Alexander: Some Additions to the Organ in Casimir Hall — 78; photograph — 43 
Mapes, Gordon : The New Recording Department — 47 
Memories of Ernestine Schumann-Heink: article by Edith Evans Braun — 5 

-Menotti, Gian Carlo: article on— 57; premiere of "Amelia al Ballo"— 81; photographs— 26, 31, 59, 82 
Mexican Impressions: article by Carlos Salzedo, Mus.D. — 9 
Moennig, William: lecture — 83 

Montagnana 'cello: story of, by Louis Bailly, Mus.D. — 67 
Opera Premieres: "Le Pauvre Matelot," "Amelia al Ballo"— 81 

Organ Department: activities of— 42; cooperates with St. James's Church, Episcopal Academy— 80 
Organ : additions to (echo organ from Mr. Curtis's home brought to Institute); article by Alexander McCurdy, 

Mus.D.— 78 
Petina, Irra: South American opera — 26; photograph 27 
Philadelphia Museum, concert in, by Curtis Symphony Orchestra— 40 
Philadelphia Orchestra, Curtis Institute host to — 11 
Recording Department, The New: article by Gordon Mapes — 47 
Reiner, Fritz: photographs — 24, 82 

Reisenberg, Nadia: tours Europe, winter, spring 1937; photograph — 75 
Robinor, Genia: tours Europe, winter, spring 1937; photograph — 75 
Romance of 'Cello jz, The: article by Louis Bailly, Mus.D.— 67 
Salzedo, Mus.D., Carlos: Mexican Impressions — 9; photograph — 10 
Schumann-Heink, Ernestine: article on, by Edith Evans Braun— 5; photographs— 4, 8 
Shumsky, Oskar: European tour 1936—20; soloist with Curtis Symphony Orchestra; photograph —92 
Social Activities — 45 

Some Additions to the Organ in Casimir Hall: article by Alexander McCurdy, Mus.D.— 78 
Student Activities : Casimir Hall— 32, 85; radio— 32, 87; Concert Course— 36, 90; Curtis Symphony Orchestra 

— 40, 81, 91; professional— 41, 93; photography— 94 
Summer Activities 1936 — 25 
Vronsky-Babin: recital — 83 



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